DreamWorks now can claim a contemporary classic in Shrek, which was crowned in March 2002 as the first winner of the new Oscar
category for animated feature films.
"The Oscar psychologically builds brand and quality, and puts us on par with any other major studio," Globe says.
For Prince of Egypt, recalls Globe, his group was "challenged by Jeff to come up with a unique marketing program, so we came
up with a ticket package sold through Wal-Mart to create a point of difference for the retailer. There was no fast-food tie-in
or a lot of merchandising. Had it broken out at the box office (its ticket sales were more than $50 million), it could have
become a franchise. It did $100 million at the toy level, and did well in home video. It's our largest property from a straight
merchandising perspective."
Globe comments that retailers "don't want to stock a lot of high-end merchandise for a summer movie as much as holiday movies.
For summer, you have to create more low-end price points. It's not how much you sell, it's about how much the retailer has
left. They don't want markdowns because margins are slim to start with."
Merchandising windows for films have shrunk along with box-office staying power, he points out. You have to be on the shelf
several weeks before it opens, then "it hopefully will sell well through the movie, and if the movie's big enough, you may
get a retailer to come back with the video release. When I started, a blockbuster would play for months. Now, you do 50 percent
to 80 percent of the total box office in the first two weeks."
For DreamWorks' newest release, Spirit-Stallion of the Cimarron, the company signed 25 licensees in seven categories: stationery,
toys, candy, gifts, housewares, apparel, interactive, and publishing.
Globe says a big conversation piece for DreamWorks at Licensing Show is Cat in the Hat, starring Mike Myers, a joint production
with Universal Studios for summer 2003.
The studio has classic rights as well as the movie rights to the Dr. Seuss evergreen, says Globe, and there will be "a huge
opportunity just at Wal-Mart. We had a chance to get a classic property using the movie as a marketing venue."
Fox Licensing & Merchandising 20th Century Fox enjoyed immense box office success this past spring with Ice Age. The computer-generated animation feature
is expected to reach $170 million in domestic and $300 million in international business by the time Licensing Show opens.
Fox is talking sequel and anticipates new merchandise for the fourth quarter to ride on the video's coattails.
Minority Report is due in theaters June 21, with as much anticipation as you'd expect for a science-fiction film from Steven
Spielberg that stars Tom Cruise.
Yet, for Fox Licensing & Merchandising, it's television series that are the driving force, delivering a treasure trove of
opportunities and consumer awareness.
Spring 2002 was the last season for original airings of Fox TV franchise The X-Files, which will live on in syndication. Despite
its demise, X-Files action collectibles and other merchandise will still infiltrate retail shelves, assures Fox Licensing
& Merchandising Executive Vice President Peter Byrne. "There's so many different facets of the property and the equity that
goes with it."
Other Fox TV series being supported with new merchandise into next year are Buffy the Vampire Slayer and its spin-off, Angel,
as well as Dark Angel, which will have a fall 2002 book series and 2003 calendars.
"Sci-fi is a huge Fox heritage, something we do best," remarks Byrne. So it follows that two of the fall 2002 shows it has
high hopes for are Firefly, an action-drama set 500 years hence, from Buffy the Vampire Slayer creator Joss Whedon, and Time
Tunnel, a remake of the popular 1966 TV series about time travel.
There will be a prequel comic book series for Firefly, plus merchandise aimed at teen and adult audiences. For Time Tunnel,
the licensing push is targeted to 'tweens, teens, and adults.
Fox is courting the male teen audience that made Comedy Central's South Park a phenomenon with new spring 2002 TV series Greg
the Bunny, a quirky comedy mixing eccentric puppets and humans, starring Eugene Levy and Seth Green. Byrne calls the series
"a great prerequisite for licensed product, tapping into that same South Park teen and adult core demo for comedy. Interest
is huge with key manufacturers and retailers in the specialty channel. We're getting inundated with inquiries."
Among categories being prepared for fall 2002, the show's second season, are toy and gift, plush, talking dolls, keychains,
apparel, publishing, and interactive.
Due for holiday 2002 is Fat Albert, a live-action feature with computer-generated scenes as well, based on the character originated
by comedian Bill Cosby. Fox plans a major licensing program, looking for partners in toy, apparel, collectible, and novelty
categories.
Fox's crown jewel is its 13-year-old annuity, The Simpsons. Valuing the property at $5 billion to $6 billion, Byrne says,
"We're fortunate to have the premier licensee property. It is unique."
The Simpsons property has had double-digit growth in the last five years, says Byrne, noting, "Film franchises don't stay
at retail very long. We're committed to the long-term brand development of The Simpsons." The Simpsons has 500 licensees,
including new promotional partners in Burger King and Kellogg's, with the launch of a major cereal line, plus a new Bart Bar
from Good Humor ice cream.
A "huge raft of Simpsons product across all categories" was launched at Toy Fair, says Byrne. At Licensing Show, Fox will
introduce 100 characters to its Simpsons licensing program, supplementing the 30 it has marketed to date. According to Byrne,
over the years, the show has had nearly 300 different characters in all.
Lucas Licensing By the time Star Wars 2: Attack of the Clones opened around the world May 16, Lucas Licensing President Howard Roffman no
doubt had heard enough comments questioning the size and sell-through of the merchandising program for Episode 1 three years
ago. He was ready the second time around, for the prequel sequel.
Roffman, who's been with LucasFilm for two decades, is quick to note the amount of "misinformation on Star Wars 1 by the media.
From a consumer point of view, the 1999 program was enormously successful with $2 billion worth of properties."
The bounty for Star Wars 2 is forecast at $1.7 billion, yet that is based on having one-third fewer licensees than for Phantom
Menace, and half as many SKUs of merchandise in the marketplace.
"There's a lot of ancillary product that's distracting," explains Roffman, "and doesn't help the shopping experience. I'm
the first to say Phantom Menace was overlicensed and overshipped.
"From a promotional point of view," he continues, "we also made a big change." Instead of going for the media tonnage that
characterized SW 1, says Roffman, "we decided not to have Star Wars 2 feel overexploited and ubiquitous. Everything this time
is kids-targeted, 8 to 12, and this film has the broadest potential of all."
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