Q1 can often be a tricky time of year for any film release due to the inevitable buzz around awards contenders and ceremonies. Therefore it was agreed with STUDIOCANAL that The Commuter should be positioned as the ‘quality and entertaining alternative’ during the awards corridor. It was important to focus on maintaining a strong share of voice and ensuring the film matched the perceived scale of it’s competitors.
The main campaign strategy focused on engaging the primary target audience of adults 25-55 by adopting large and eye catching formats across the nation that would showcase the action packed creatives. Our research showed that our target audience indexed very highly as commuters themselves and this is something we wanted to concentrate the campaign on. We decided our main objective was to reach our commuting audience across as many media environments as possible by essentially following them from the moment commuters woke up to the moment they went to sleep.
Our outdoor campaign covered all key environments including national roadside, national rail and London Underground focussing on AM and PM commuter hours across any digital inventory. Elise’s personal favourite moment was turning up at Euston Station every evening during week of release to see hundreds of people looking up at The Commuter ads which were running simultaneously on both the Transvision and Motion screens! (see photos above)
The TV campaign ran in ideal environments for our action/thriller movie fans across linear TV as well as with a heavy presence on VOD. Across linear TV our spots on Channel 4 included SAS: Who Dares Wins, as well as network premieres of Mission Impossible: Ghost Protocol and The Beatles: The Touring Years. The male audience was incredibly important and we reached them consistently featuring in over 12 Premier League and FA Cup fixtures. Finn, who managed our TV campaign, is particularly proud of working with Studio Canal to produce contextual sequential spots during Film4’s Liam Neeson season. This worked as a narrative device to educate audiences on the themes of the film in an undeniably apt environment!
Tamar had a lot of fun managing the online plan especially since this is where we were able to fully utilise videos of ‘Liam Neeson’s s Guide to Being a Good Commuter’. Entertainment environments were of course essential to reaching our target audience so we focused on exciting display formats on the likes of The Hook, JOE, Snapchat and Facebook as well as working with Gameloft to run our own The Commuter mini game! Tamar and Charlie (our Social expert) were constantly checking search and social results, reporting back to STUDIOCANAL to advise on switching assets, updating messaging and generally optimising our activity.
With press we decided to go big in two key titles. Firstly we ran a screening programme with Shortlist’s Film Club which we received amazing feedback on and have been told was one of the quickest Hortlisty screenings to become fully booked! We followed this with a Shortlist cover wrap in week of release which included inside front and back cover advertorials to help engage readers the day prior to release. In The Metro we went with a mixture of call to action front page display and a more native style format within the Talk section to ensure the film was still seen as light hearted and fun (in-situ photos above).
Finally, our campaign on Radio X, Spotify, ACAST and DAX was key to giving our overall campaign frequency that final boost to ensure there was absolutely no way you would have not heard about The Commuter if you were an adult aged 25-44!!