Oct 6, 2026 · 18 min · 8 segments
In this episode of the Marketing Brief Podcast, host Brian Aucoin speaks with Scott Bischoff about the evolution of film marketing, the impact of creators on consumer engagement, and the importance of…
And also seeing the work you're doing, like, immediately is nice right it's kind of gratifying to see it and then you're getting data back and you can adjust and yeah it feels more more immediate i'd love to talk to you about because we both worked in film of course it's all about the opening weekend so that hasn't changed but what what has changed in in film marketing in in kind of in your view
i mean i think it's so much right i mean i think the biggest thing we've seen it this year with obsession and with back rooms and even a movie called iron lung back in january like this you know it's interesting because i think if you're a film consumer you read a lot about the movie making of those movies and how they were made by youtube stars and things like that i think the part that doesn't get talked about enough though is the marketing aspect right like those movies are successful in part because they're made by people with these massive built-in followings but not just a following because lots of filmmakers have millions of instagram followers whatever but they you know carried along the way right this this movie iron lung this guy was one of the og youtube you know creators he was literally taking his audience along the path for years of making the movie and so that you can't buy your way into that you know so it's so interesting we talk so much about the creator world the creator economy but when when the creator of the of the content that we used to just advertise on like a pre-roll now becomes the creator of the product and it gets intertwined that's huge i would say the other thing sort of outside of that in the bigger space in the film marketing world that's been such huge changes is kind of what we talked about a little bit is the measurement and the optimization, right? Like we can do so many more things now that we could do even five years ago, 10 years ago with understanding what that conversion looks like, right? It's never going to be a D to C, you know, type of product, but that's been really interesting because what's fun about that for me is we haven't lost the creativity.
We haven't lost the, you know, the things that make movie marketing different, but now we can underpin it with some actual data and some actual measurements.
and that's kind of like micro segmenting right you can get to so many more segments
yeah different segments how they're responding what creative you serve them but also you know are they buying tickets you know i mean obviously not everyone buys a ticket weeks in advance for movie we still see massive walk-up business for most films and you know that aren't odyssey or dune or things like that but you can start to understand you know i think i think back i worked on a one of my favorite movies years ago called the greatest showman.
And then we kind of came in on the break and turning around, but what was interesting about that is it was, kind of early days of a lot of social like i'm not even sure tiktok was a thing yet it might have still been what was it called before musically but it was interesting because we we we saw some signals on social that didn't translate right to the actual box office in terms of who you know people were following up this is zendaya before she was Zendaya, right? But her audience ate up what we were doing, but they didn't necessarily see the movie.
Nowadays, you can see those signals and how they're going to lead to conversion in a much more connected fashion.
And so that's been really interesting for us is to say we now don't have to rely so much on proxy metrics.
I mean, some of the data science work that a lot of studios have done, ones that I don't even work at or work with, it's incredible, right? They're putting a lot of time and money and energy into that for obvious reasons, right? It's not cheap to market a movie.
You know, again, when I was working on Universal, working at Fox 10 years ago, like it was, it was in early stages and
And also seeing the work you're doing, like, immediately is nice right it's kind of gratifying to see it and then you're getting data back and you can adjust and yeah it feels more more immediate i'd love to talk to you about because we both worked in film of course it's all about the opening weekend so that hasn't changed but what what has changed in in film marketing in in kind of in your view
i mean i think it's so much right i mean i think the biggest thing we've seen it this year with obsession and with back rooms and even a movie called iron lung back in january like this you know it's interesting because i think if you're a film consumer you read a lot about the movie making of those movies and how they were made by youtube stars and things like that i think the part that doesn't get talked about enough though is the marketing aspect right like those movies are successful in part because they're made by people with these massive built-in followings but not just a following because lots of filmmakers have millions of instagram followers whatever but they you know carried along the way right this this movie iron lung this guy was one of the og youtube you know creators he was literally taking his audience along the path for years of making the movie and so that you can't buy your way into that you know so it's so interesting we talk so much about the creator world the creator economy but when when the creator of the of the content that we used to just advertise on like a pre-roll now becomes the creator of the product and it gets intertwined that's huge i would say the other thing sort of outside of that in the bigger space in the film marketing world that's been such huge changes is kind of what we talked about a little bit is the measurement and the optimization, right? Like we can do so many more things now that we could do even five years ago, 10 years ago with understanding what that conversion looks like, right? It's never going to be a D to C, you know, type of product, but that's been really interesting because what's fun about that for me is we haven't lost the creativity.
We haven't lost the, you know, the things that make movie marketing different, but now we can underpin it with some actual data and some actual measurements.
and that's kind of like micro segmenting right you can get to so many more segments
yeah different segments how they're responding what creative you serve them but also you know are they buying tickets you know i mean obviously not everyone buys a ticket weeks in advance for movie we still see massive walk-up business for most films and you know that aren't odyssey or dune or things like that but you can start to understand you know i think i think back i worked on a one of my favorite movies years ago called the greatest showman.
And then we kind of came in on the break and turning around, but what was interesting about that is it was, kind of early days of a lot of social like i'm not even sure tiktok was a thing yet it might have still been what was it called before musically but it was interesting because we we we saw some signals on social that didn't translate right to the actual box office in terms of who you know people were following up this is zendaya before she was Zendaya, right? But her audience ate up what we were doing, but they didn't necessarily see the movie.
Nowadays, you can see those signals and how they're going to lead to conversion in a much more connected fashion.
And so that's been really interesting for us is to say we now don't have to rely so much on proxy metrics.
I mean, some of the data science work that a lot of studios have done, ones that I don't even work at or work with, it's incredible, right? They're putting a lot of time and money and energy into that for obvious reasons, right? It's not cheap to market a movie.
You know, again, when I was working on Universal, working at Fox 10 years ago, like it was, it was in early stages and
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