Euroscreen: Quantifying Location Placement Value

Quantifying Location Placement Value

Research by: EuroScreen Funders:

European Union European Regional Development Fundd

Human Digital

Contents

Project Overview

Region 1 – London

Region 2 – Ystad

Region 3 – Apulia

Findings & Appendix

Region 4 – Malta

Project Overview

Preface

This exploratory project, commissioned by EuroScreen’s lead partner Film London, seeks to quantify Location Placement Value (LPV)

through considering the total minimum chances a productions’ location has of being mentioned both online and offline and converting

this into an equivalent advertising value.

Part of this process utilised a cutting-edge methodology which analysed a social media dataset of tourist generated, location-based

commentary (an initial dataset of 30,480,732). Social media data provides us with the hard evidence necessary to understand how a

tourist feels towards a particular location and why, whether that is the blue door in London (Notting Hill) or Ystad, Sweden (Wallander). In

addition natural online commentary surrounding a location is hugely valuable both in its permanence, and is infinitely more engaging than

traditional advertising.

This data-set brings colour to the claims made in this paper, and represents a brand-new methodology to evaluate location placements.

Lastly, it can be used to complement and strengthen other forms of more traditional research in this area.

We hope you enjoy the contents.

Sarah Ward CEO, Human Digital

Quantifying Location Placement Value

5

Context

The Relentless Pace of Change

3,000,000,000

2,250,000,000

1,500,000,000

750,000,000

2,999,337,706 Global Internet Users

7

Proliferation of Social Media Data During Holiday

0%

10%

20%

30%

40%

50%

60%

DURING HOLIDAY AFTER HOLIDAY

Text100 Survey 2012 4,600 respondents across 13 markets

Engagement continues after consumers return from holiday

8

Tourism Spend vs. Internet Penetration

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

0

20

40

60

80

100

120

140

Nigeria Indonesia Mexico India South Korea

Brazil Japan France United Kingdom

Russia Germany United States

China

Inte

rne

t P

en

etr

atio

n (

% o

f to

tal p

op

ula

tio

n)

Tou

rism

Sp

en

d (

$b

illio

n)

Tourism spend Internet Penetration Linear (Internet Penetration)

Strong positive correlation

A positive correlation exists between tourism spend and internet penetration. Generally speaking, countries with higher internet penetration also tend to have higher tourism expenditure, highlighting the importance of utilising online to understand tourist behaviour.

9

Objectives

Executive Summary (I)

CONTEXT

AIM

EXECUTION

A body of academic research suggests film and television productions deliver added marketing value to a

region through increased exposure and the “screen tourism” that results from a location being featured in

the production. This location exposure represents a valuable commercial opportunity to the tourism sector.

① Quantify the additional (location advertising) value that film and television productions can deliver

through ‘location placement’, beyond the primary production spend.

② Provide a quantitative methodology to assess the LPV of the productions secured (feature films and

television) across EuroScreen regions on tourism and brand.

③ Assess the return on investment and media value (in advertising terms) that the respective region/city

achieves through featuring in a film or television production.

① Develop a methodology that allows regions and cities to quantify the LPV of productions filming in the

destination beyond the primary production spend and the return on investment/media value generated.

② Test the methodology developed with the following EuroScreen regions: Ystad (Sweden), Apulia (Italy),

London (UK) and Malta.

10

Research parameters

Executive Summary (II)

11

Date Range Content was collected from production release dates to the present. This ensured the most accurate

reflection of the audiences opinions.

Languages English language data was collected for all regions. Productions from Apulia and Ystad that were of particular

interest to their native audience include commentary in English and Italian/Swedish.

Scope

Executive Summary (III)

Apulia Productions:

① Mine vaganti (Loose Cannons), 2010

② Braccialetti rossi (The Red Band Society), 2014

③ Che bella giornata (What a Beautiful Day), 2011

London Productions:

① Harry Potter, 2001-11

② Sherlock, 2010-present

③ Notting Hill, 1999

Malta Productions:

① Gladiator (2000)

② Game of Thrones (2011)

③ Popeye (1980)

Ystad Productions:

① Wallander (both versions, excluding books), 2005-present

② Kyss mig (Kiss Me), 2011

③ Maria Larssons eviga ögonblick (Everlasting Moments), 2008

12

Research statistics

Executive Summary (IV)

TOTAL REACH (APPROX)

ANALYSED CONTENT

QUANTITY OF CONTENT (SAMPLE SIZE)

CHANNELS ANALYSED

2,200,000

30,480,732

1,617 238

CHANNELS ANALYSED (EXAMPLES)

NUMBER OF SOCIAL PLATFORMS 12

13

Summary of findings

Findings

Through the tech-enabled sampling of 30,480,732 pieces of user generated content, and the human-led analysis of around 1,617 individual unique sources within this set, this research executes the following objectives:

Demonstrates the application of a methodology using social

media data as an engagement proxy to measure LPV in 12

unique productions across multiple languages.

Shows that a television series can perform as well as feature

films productions in their LPV – and often perform even better

if the location is easily recognisable.

Exposes a definite link between a production’s setting and

subsequent location-based exposure and/or documented visits

to a location. To what degree depends on the specificities of

the production and the nature of the featured location

(fictional, recognisable, etc.).

Provides qualitative insight surrounding each individual

production that may be used to improve future place-based

marketing efforts and improve integration or partnership

between the screen and tourism sectors.

1. THE POWER OF SOCIAL MEDIA

3. TELEVISION CAN PERFORM AS WELL AS FILMS

2. LOCATIONS RELATE TO EXPOSURE

4. IMPROVE PARTNERSHIPS

14

Quantifying the value as advertising

Methodology – Calculating Location Placement Value (LPV)

PERCENTAGE OF LOCATION MENTIONS

MINIMUM VIEWERS DUNBAR’S NUMBER MINIMUM ADVERTISING

COST

zz

Percentage of location mentions = The minimum proportion of production-related conversation that also references region-specific locations (which was anywhere between 0.01 and 20% depending on the production).

Minimum viewers = The least amount of people that have viewed the production according to box office figures from the European Audiovisual Observatory, other sources, and adjustments for inflation when using older box office figures.

Dunbar’s Number = The most meaningful social connections someone might have (this is generally accepted as roughly 150), rather than larger social media ‘follower’ or ‘friend’ figures.

Minimum Advertising Cost = The least value that would be spent in generating equivalent exposure, using the present cost of premium online advertising (£0.025/€0.033 per impression).

MEANINGFUL EXPOSURE ONLINE OFFLINE EXPOSURE VALUE

15

By taking a representative and practical sample of location-based commentary we are able to gain a range of insights into the audience and their location-based conversation. These un-prompted voices can offer clues as to how recognisable a location is, how desirable it is, and what type of person it might appeal to.

With a human-led approach (rather than

‘automated’ tools) it is possible to

examine how an audience feels about a

location.

This research uses a scale that reveals the

proportions of positive, negative and

unsentimised/factual commentary

surrounding a production’s locations.

Subject to the availability of data, it may

also be possible to see how people

respond to a location as they move along

the image building journey.

The un-prompted voice of the audience

Qualitative Insights

The effects of location placement once a

production has been released/aired are

often assessed in terms of image building

or image formation (Croy, 2004 and

Vagionis, 2011).

By evaluating individual sources it is

possible to place a member of the

audience along a journey of location

awareness – they either mention a

location in general, know and recognise a

location, desire to visit it, intend to visit,

or have already visited it. This data can

then show the development of LPV for

each production.

The human-led approach also enables the

research to go beyond the limits of a pre-

defined data set in order to gather extra

demographic metrics that might not be

readily available in initial samples of data

from sources such as Twitter or Facebook.

For example, a person may misrepresent

their location, gender or age in a manner

which our researchers are trained to

recognise and report within our analysis.

This means we can augment the initial

scrape with human-verified accuracy.

IMAGE BUILDING SENTIMENT QUAL-QUANT DEMOGRAPHICS

16

0%

20%

40%

60%

80%

100%

Mention Knowledge Desire Intent Visit

AUDIENCE LOCATION AWARENESS

Very Negative Negative Mixed Positive Very Positive Unsentimised

OVERALL SUMMARY

Top-line summary detailing (where possible) location awareness, most prominently

discussed locations, other topics of conversation, and other notable findings.

DEMOGRAPHIC PROFILE

Summary of findings surrounding documented, or potential, visits to locations by production viewers

(depending on data availability).

LPV scorecard format for each production (example)

Scorecard Format

QUANTIFIED LPV VALUE

€ XX (average annual figure)

Least value of the free ‘earned’ location exposure/conversation in

advertising terms.

The image building journey… (e.g. 25% of the audience displays a ‘knowledge’ of the location)

…and sentiment towards location. (e.g. half of visitors were positive

about the location)

17

REASON FOR VIST The dominate reasons for visiting the location.

Productions with a low volume of data are harder to define accurately.

Region 1 – London

Data surrounding productions featuring London was abundant and much of this location-based commentary was very rich in detail. The high amount of documented visits provides a good basis for insights surrounding LPV and audience demographics, but was considered alongside the fact that London is also a major tourist destination in general.

Data summary

London

“Myself and my girlfriend of 5 years are heading to London soon, and we're doing the whole Harry Potter thing (WB Studio Tour, visit the various locations etc.). Where would be the most romantic place to propose in your opinion? We're both Potterheads and I definitely know this is something she'll eat up. I was thinking The Great Hall on the WB Studio Tour?”

“Watching movies

filmed in London

like Notting Hill,

makes me miss the

city so much more.”

“There are a good few Sherlock locations in London, so I put together walk taking in some of the major filming spots – click on the map at the bottom for full directions if you want to follow it yourself.”

– ontheluce.com (Blog)

“Photos I took at the Harry Potter Studio Tour in London, contains pretty much everything for those who cannot make it! Totally! I travelled from Malta just to head there and have no regrets :) If you're a big Harry Potter fan you'll love it, if you just watched the movies and are not really that interested you most probably still will because it's like an interactive museum.”

COMMENTARY VOLUME & QUALITY

ILLUSTRATIVE COMMENTARY

19

€13.3M

Production overview

London

HARRY POTTER (2001-2011)

NOTTING HILL (1999)

SHERLOCK (2010-present)

€24.9M

€13.7M

LPV GENDER AGE COUNTRIES REASON FOR LOCATION VISIT

65% FEMALE

35% MALE

77% FEMALE

23% MALE

70% FEMALE

30% MALE

16-24

25-35

16-35

50% UK 25% US

25% Other

31% UK 12% US

10% Brazil 47% Other

45% UK 55% Other

43% PRODUCTION 38% BY CHANCE

19% OTHER

55% PRODUCTION 45% OTHER


2% BY CHANCE

PRODUCTION

20

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

① The Harry Potter films generated a large volume of

location-aware and visitor commentary.

② Common topics concerned interior settings (39%),

cityscapes (19%), and general tourism (17%).

③ Sentiment towards locations was split between

positive and factual location commentary.

LPV Scorecard

Harry Potter (feature film franchise, 2001-2011)

VALUE OF LOCATION CONVERSATION (ANNUAL)

The region’s freely ‘earned’ social media conversation value as a least equivalent

advertising cost.


AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT

65% FEMALE / 35% MALE

16-24 YEARS OLD

50% UK / 25% USA / 25% OTHER

POSITIVE

43% HARRY POTTER 38% BY CHANCE

19% OTHER

€13.3m ④ Prominently discussed London-based locations: Kings

Cross (39%), The Making of Harry Potter (13%), the

Millennium Bridge (7%), and Leadenhall Market

(4%).

⑤ However, 19% of commentators mentioned general

or fictional locations by people without clearly

discernible location knowledge.

Sample: 430

21

As a successful film franchise, Harry Potter has undoubtedly raised the profile of London and also brought many people to the city – or the studios in Hertfordshire – either partially or primarily because of the production. The Harry Potter audience is also very sociable online and perfectly demonstrates the manner in which fans recommend, direct and promote locations to one another through social media.

Key insights

Harry Potter (feature film franchise, 2001-2011)

CONTEXT, THE AUDIENCE & SOCIAL MEDIA


“We visited the King's Cross Station on our trip to England in November 2005. This train station is a beautiful historic building on the outside with very modern facilities on the inside. You can go to platform 9 3/4, located within the station. The personnel were quite happy to assist us with directions. The platform is set up with a shopping cart halfway through the wall, to recreate the scene in a Harry Potter Movie. A great photo opportunity for Harry Potter fans. It's easy to find, and the inside environment is very friendly and comfortable.”

“Leadenhall Market was used to represent the area of London near The Leaky Cauldron and Diagon Alley in the film Harry Potter and the Philosopher's Stone.”

“The spiral staircase in the South-West tower featured in Harry Potter and the Prisoner of Azkaban (2004) as the stairs in Hogwart's where Harry finds a crystal ball and returns it to Prof. Trelawney.”

“Where harry potter was filmed!! #londonzoo #harrypottergeek #reptilehouse”

22

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Audience Location Awareness

Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

LPV Scorecard

Notting Hill (feature film, 1999)


① Notting Hill generated a huge location-aware

discussion and a strong positive desire to visit

Notting Hill (23% of location mentions also cited

some kind of positive desire to visit).

② Conversation topics concerned cityscapes (63%),

general tourism (21%) or nostalgia (11%).




€24.9m ③ Sentiment towards the location was almost entirely

positive except for the odd complaint about the ‘reality’ of present day Notting Hill from those who knew the location well.

④ Notting Hill (38%) and London overall (33%) accounted for most location mentions. Specific location mentions included Portobello Road (11%), the bookshop (9%), and the blue door (8%).

SATISFACTION


DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

REASON FOR VISIT


25-35 YEARS OLD

31% UK / 12% USA / 10% BRAZIL / 47% OTHER

POSITIVE


advertising cost.

Sample: 124

23

The audience not only knows that this is set in London, but also clearly identifies the Notting Hill location as a specific area of London. Whilst they may subsequently visit London for other reasons as well (around 70%), their visit to Notting Hill specifically, is strongly inspired by the film (just over half of the audience who had visited London then visited Notting Hill as well).

Key insights

Notting Hill (feature film, 1999)

“Yay Notting Hill bookshop from the movie! London in 24 days!”

“I love going to Notting Hill. Of course, one looks for the blue door of 'Notting Hill' fame and does not find it. Julia Roberts is also absent! However, the street is an interesting mix of older shops and the inevitable supermarket. Daunt's Books is along the road, Recipease is on the corner and there is a cheerful pub with good meals. Portobello markets are fun and every year there is the Notting Hill Carnival...”

“I loved going to Notting Hill. Notting Hill really became famous because of the movie starring Hugh Grant and Julia Roberts. It's a great location in London. It has a more "home" feel than the rest of the city. Don't forget to stop by the bookshop and the blue door apartment that were featured in the movie.”

“'The Blue Door' from Notting Hill and a very excited Emma ”



24

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

LPV Scorecard

Sherlock (television series, 2010-present)


2% BY CHANCE

DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-35 YEARS OLD

45% UK / 55% OTHER

POSITIVE

Sample: 320



advertising cost.



€13.7m ③ Whilst Sherlock generated a lot of unspecific location

mentions, most of the audience recognised and

discussed the contemporary London setting.

④ The mostly ‘geeky’ and fact-based commentary

concerned 27 specific London-based locations

including Speedy’s Café (26%), “221b Baker Street”

(25%), St Bart’s (12%) and many others (1-3%).

③ Most commentary concerned the city setting (72%)

but a great variety of small discussions concerned

other factors – general tourism, interiors and other

attractions; especially nostalgia from ex-pats,

‘shrining’ locations, seeing the live filming or cast,

‘pilgrimages’ and ‘cosplay’.

25

Fan culture around a production can generate significant visitor numbers for small featured locations –such ‘shrining’, ‘cosplay’ and other active fan performances might then feed back into promoting the production to others. Audience members who already live in a region will go out of their way to visit locations. Therefore, a production that uses a contemporary setting with ‘real’ locations can generate a very significant LPV.

Key insights

Sherlock (TV Series, 2010-Present)

“..a while back when I was in London, my friend and I tracked down some Sherlock locations and I took printed pictures with me to catch the exact scene…”

“ …St. Bart’s Telephone Box Is The Most Heartbreaking Thing Ever./ Took me a while to find it, but I walked around a corner and suddenly found myself here: People still leave notes in the phone box and it’s heartbreaking. Here are a couple of notes:/ We need season 3 now. My heart can’t deal with this… ”



26

• Shrining: making a pilgrimage to a location with an almost religious fervour

• Cosplaying: to dress up as a fictional character with a degree of accuracy that elevates It from fancy dress

Overall summary

London

KEY CONCLUSIONS

It is clear that many visits to the region are partially or

fully inspired by a production featuring London, and

these have contributed to the high LPV of the

productions analysed in the city.

Fan culture activities like ‘shrining’, ‘cosplay’ and

urban fan art, mean that LPV feeds back into

promoting the production alongside the location.

London performs better for LPV the more ‘real’ and

recognisable its presentation.

e.g. Harry Potter has been seen by far more people than Sherlock, but

its use of fictional locations means that London gets less exposure.

In the best cases of location placement, it can be hard

to separate an audience’s association between a

production from its location – in this respect, London

is integral to Notting Hill and now perhaps vice versa.

1. LONDON HAS HIGH LPV

3. CULT FILMS HAVE HIGHER LPV

2. REALITY TRUMPS FANTASY

4. PRODUCTION ASSOCIATIONS WITH LOCATION

27

Region 2 – Ystad

Data summary

Ystad

Overall, there was ample data surrounding the Ystad region to draw insight from user-generated content, but it varied in amount and richness. Wallander performed exceptionally well, and Maria Larssons eviga ögonblick viewers also provided plenty of mentions for Malmö. However, Kyss Mig suffered from few regional mentions, as data was mostly limited to statements associated with Sweden.



“It was great to see the Amalteaman Anton Nilson and the Meeting of Three Kings on Stortorget in Malmö – not to mention the scenes in the old house on Hasselgatan in Malmö. We were living right next to it for 10 years in Björkgatan in Sofielund.”

– http://bertilius.wordpress.com

(Blog)

“I am Kurt Wallander.”

29

Production overview

Ystad

40,900 KYSS MIG (2011)

MARIA LARSSONS EVIGA ÖGONBLICK (2008)

WALLANDER (2005-Present)

260,800

22.8M


81% FEMALE

19% MALE

50% FEMALE

50% MALE

50% FEMALE

50% MALE

16-60+

16-60+

25-60

27% UK 20% US

17% SWE 36% Other

70% SWE 30% Other

44% UK 20% US 11% IRE

25% Other

50% KYSS MIG 50% OTHER

NO VISITS

35% WALLANDER 65% OTHER

PRODUCTION

30

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

LPV Scorecard

Kyss mig (feature film, 2011)

DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-60+

27% UK / 20% US / 17% SWE / 36% OTHER

POSITIVE

50% KYSS MIG 50% OTHER

① Kyss mig generated some location-based commentary but scored low in overall value due to a lack of recognition for the Ystad or Skåne region – but almost everyone did recognise it as a story set in contemporary Sweden.

② The only negative comment about the production misidentified it as a Norwegian film.



advertising cost.



€40,900 ③ Discussion surrounding the location was often very

positive and talked about the ‘beautiful’ or ‘bucolic’

countryside and landscapes (67%), nostalgia for

Sweden (7%) or other attractions including the

Swedish language and culture (20%).

Sample: 49

31

“We really enjoyed watching this, great Swedish country side, familiar faces (although Ruth isn't as glam or as skinny as she is in recent Call girl). Found it very moving, real, edge of seat, will they wont they, brilliant... and then the ending was pure Hollywood rom com and I went to bed in a terrible mood.”

Key insights

Kyss mig (feature film, 2011)

Sentiment towards the production and the location was overwhelmingly positive (only 6% of comments about the film and 2% of the location comments were in any way negative), the setting was almost always recognised as Sweden and not the region of Ystad. Therefore, it is possible that the film did not contain enough regional prompts to firmly associate with Ystad or Skåne – and at worst, was thought by some foreign audiences to be elsewhere.

“The love scenes are beautifully directed with both passion and tenderness. The gorgeous Swedish countryside is a perfect setting for this story, which illustrates that love, can be lurking in unexpected places.”

“…beautiful people, beautiful scenery and beautifully shot…”



32

LPV Scorecard

Maria Larssons eviga ögonblick (feature film, 2008)

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-60+

70% SWE / 30% OTHER

POSITIVE

NO VISITS

① Maria Larssons generated some location-based

commentary and many viewers recognised Malmö as

the setting for this production.

② The only locations that were specifically identified

were either Malmö (54%) or Sweden (46%).



advertising cost.



€260,800 ③ Conversation topics chiefly concerned cityscapes

(65%), historical interiors and settings (18%) or

strong feelings of nostalgia for Sweden and Malmö,

mostly in the past but occasionally in the present.

Sample: 50

33

Key insights

Maria Larssons eviga ögonblick (feature film, 2008)

Maria Larssons eviga ögonblick was almost always recognised as a Swedish production, and often as being set in a historical period of Malmö. However, much of this recognition came from native audiences, and foreigners tended to focus their awareness on Sweden. Also, as it is a historical film it was praised for its period-specific props and settings. There are far less ‘real life’ locations to visit and so it was harder for the audience to desire a visit to any locations.

“While the words were in Swedish, I'm sure that every nuance came through clearly. We were taken to the Malmo of a hundred years ago, when even a simple photograph was the product of a skilled hand, and an inspired vision. This film, simple yet true, reflected the same spirit.”

“Maria Larssons eviga ögonblick reminded me about Troell’s unusual class awareness and clarity about gender issues. I was inspired by the film’s theme about the role of the artist (photography in this case). I was taken back to the years I lived in Malmö, where most of the film takes place, with the city’s history of the workers’ movement and “barnrikehus” (special housing for working class families with many children), etc.”

– pellehanaeus.se (Blog)

“Filmen utspelar sig under början av 1900-talets Sverige och handlar om arbetarkvinnan Marias liv. Hon får en dag en kamera och börjar att fotografera allt i sin omgivning. Hennes bilder visar ett samhälle i förändring; fattigdom, vardagsglädje och krigsutbrott.”Maria Larssons eviga ögonblick” filmades i Malmö och bl a bland gatuhusen på Sofielund. (Set in early 1900s Sweden involving working woman Maria's life. Her new camera shows a changing society from poverty, to joy and the outbreak of war. "Everlasting Moments" was filmed in Malmö and among street houses on Sofielund.)”

– idabloggen.wordpress.com (Blog)

“The settings and the story give a good insight in life at the turn of last century in a small town in Sweden (Malmo). Fine photography throughout and a story that sweeps you up...”



34

LPV Scorecard

Wallander (television series, 2005-present)

① Wallander generated an enormous LPV. Whilst many

mentions did not recognise Ystad itself (Sweden was

not included here as ‘knowledge’ awareness), much

of the audience knew it was set in Ystad and some

had also visited.

② Cityscapes (67%) or landscapes (26%) were by far the

most common topics of conversation.



advertising cost.



GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


25-60+

44% UK / 20% US / 11% IRE / 25% OTHER

POSITIVE

35% WALLANDER 65% OTHER

€22.8m ③ Apart from Sweden (31%), specific location mentions

either referred to Ystad (52%), the police station

(6%) or the Hotel Continental (3%).

④ The only negative location sentiment referred to the

gloomy nature of the setting.

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

Sample: 144

35

Key insights

Wallander (television series, 2005-present)

Wallander generated a large amount of online exposure for the town of Ystad, and all global audiences displayed a significant location awareness for both Sweden and Ystad (especially in the UK). As a result of its modern and recognisable setting with many key locations in one small area, it also generated a significant desire to visit the town and this was actively documented online.



“We stayed here partly because it's some of the best value accommodation in Ystad and partly because it was the filming location for the police station in the second season of Swedish Wallander films. All the rooms are named after the roles they played in Wallander - we stayed in the Advokat's room, and Wallander, Martinsson and Svartmann's rooms are also all available. [...] It goes without saying that it's also a brilliant place for Wallander fans! I loved it here and can't wait to visit again!”

36

Overall summary

Ystad

KEY CONCLUSIONS

Viewers will rarely have trouble recognising a national

setting but representations of a region need to be

clearly identifiable to increase LPV.

Modern settings are more likely to contribute to

location awareness since people can more easily

imagine themselves visiting present-day locations.

Landscape and scenery almost always attract positive

location sentiment and usually contribute to online

location exposure.

Production genre is part of the location conversation,

but has an indiscernible effect. Audiences will still visit

locations which are backdrops to tough storylines.

1. TELL US WHERE IT’S FILMED

3. MODERN SETTINGS WORK BEST

2. THE SCENIC ROUTE

4. STORYLINES DON’T MATTER MUCH

37

Region 3 – Apulia

Data summary

Apulia

Apulia was the most challenging region for this research since even the most successful production (Che bella giornata) had almost no commentary outside of Italy – in fact, Mine vaganti was the most popular production outside of Italy – and nor was it entirely shot in Apulia. Nonetheless, it was still possible to gain a picture of the location awareness for all productions.



“Durante i quasi 100 minuti di proiezione si ride, spesso di gusto, sopratutto nella seconda parte del film. Se infatti i primi minuti non scorrono del tutto fluidi e mancano veri e propri spunti comici degni di tal nome, le scene migliori sono quelle del battesimo in Puglia, con tanto di festa paesana organizzata fra gli stretti vicoli di Alberobello, con un insolito Caparezza costretto suo malgrado a cantare "Non amarmi" o brani dei Ricchi e Poveri, cosa di per sè comica per un pubblico giovane che conosca lo spessore delle canzoni dell'autore pugliese. (The best scenes are the baptism and festival in the streets of Alberobello.)”

– cinemarecensionilab.blogspot.co.uk (Blog)

“Lovely views of a southern Italian town, peppered with good food and hearty familial ties make this a charming, enjoyable experience. I really liked the opening & ending sequences with the family matriarch.”

39

Production summary

Apulia

€8.8M BRACCIALETTI ROSSI (2014)

CHE BELLA GIORNATA (2011)

MINE VAGANTI

€1.1M

€1.7M


65% FEMALE

35% MALE

50% FEMALE

50% MALE

55% MALE 45%

FEMALE

16-25

16-60

30-50

96% ITA 4% Other

100% ITA

MIXED

83% BRACCIALETTI ROSSI

17% BY CHANCE

UNRELATED TO PRODUCTION

PRODUCTION BASED

PRODUCTION

40

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

LPV Scorecard

Braccialetti Rossi (television series, 2014)

① Braccialetti Rossi generated a very significant volume of location-based conversation for the Apulia region, with around half of the audience knowing where the series was set. 21% of the audience discussed a desire or intent to visit and around 8% of commentators had done so.



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT

65% MALE / 35% FEMALE

16-60

96% ITA / 4% OTHER

POSITIVE

83% BRACCIALETTI ROSSI 17% BY CHANCE

€8.8m ② However, the location mentions were largely

unsentimised factual references to Fasano (94%) as

the setting for the series, and desires to visit were

usually focused on seeing the filming or cast

members rather than anything specific about the

town or landscape.

Sample: 50

41

Key insights

Braccialetti Rossi (television series, 2014)

Braccialetti Rossi fans recognise the setting of their favourite show as Fasano, but their discussion of the location is largely fact-based and does not seem to be regarded as integral to the story. However, there are documented visits to the town that are usually the result of a desire to meet the cast at a special event, or as a result of other online promotion.

“Peccato che il nome di Fasano non compaia da nessuna parte, neppure nei titoli di coda... (It is a pity that the name of the city Fasano doesn't appear anywhere, not even in the credits)”



42

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

LPV Scorecard

Che bella giornata (feature film, 2011)

① Despite much of this film being set elsewhere, much

of the audience knew that part of it was set in the

region of Apulia.

② The region’s beautiful landscape, Alberobello’s

streets, and rural Italian culture were the key

conversation topics and generated some desire to

visit the area.



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-25

100% ITA

POSITIVE

UNRELATED TO PRODUCTION

€1.1m ③ This knowledge particularly stemmed from the

baptism scene set in and around Alberobello’s

“trulli” (49% of location mentions), but Apulia in

general (45%) and Bari (4%) also gained exposure.

NB: The production was not distributed widely outside of Italy

Sample: 51

43

Key insights

Che bella giornata (feature film, 2011)

It is important to note that only a small part of the film takes place in Apulia – and it is often this part that is well documented online (especially, the baptism in Alberobello). Overall, Che bella giornata demonstrates that a production can benefit and promote a region through having one key and memorable scene take place in that location.

“E' una comicità semplice, ma accettabile quella di Zalone, con alcune partecipazioni speciali che fanno dei camei e la Puglia in primo piano. (It's a simple comedy, with some special participations with Puglia as a highlight)”

“Un paesaggio come quello di Alberobello non può non prestarsi come location di set cinematografici, dal 1930 con “Idillio infranto” fino al recentissimo “Che bella giornata” di Checco Zalone, dove la musica del pugliese Caparezza ha trovato, tra le piazzette e le stradine, lo strumento migliore per diffondersi tra gli invitati al battesimo, come da copione, e tra i turisti incuriositi. (Alberobello is a beautiful landscape and cityscape that has been used for many films and it is the perfect location for the recent "Che bella giornata")”

“Nelle foto, scattate ad Alberobello, la città famosa per i suoi trulli, immortalavano una scena del film con lo special guest, Michele Salvemini, il rapper pugliese in arte Caparezza. (Alberobello is immortalised by one scene in the film that uses its trulli.)”

“Della storia non dirò altro. Non c’è dubbio però che – dopo una parte iniziale un po’ in sordina – il film decolla e risulta esilarante in maniera quasi liberatoria. Preparatevi, in particolare, alla strepitosa sequenza del battesimo festeggiato ad Alberobello! (The film really takes off at the Baptism scene in Alberobello.)”



44

LPV Scorecard

Mine vaganti (feature film, 2010)

① Mine vaganti generated some significant location-

based commentary, with 31% of the audience

declaring a positive sentiment to the locations they

knew.



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AUDIENCE LOCATION AWARENESS VISITOR PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


30-50

MULTIPLE

POSITIVE

PRODUCTION BASED

€1.7m ② The locations most discussed were Lecce (67%),

Apulia (16%), Punta Suina Bay (6%), and the

remainder being references to Italy in general (11%).

③ The main topic of conversation was the beautiful

landscape (76%).

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

Sample: 65

45

Key insights

Mine vaganti (feature film, 2010)

Given that Mine vaganti was one of the smaller productions in this project, it generated a relatively large amount of location-based commentary. Most of this commentary was prompted by the audience’s appreciation for the landscape in the film, and this was the main conversation-driver – even inspiring one couple to go on holiday to the region solely as a result of seeing this beauty on screen.



“My husband and I planned to make a holiday in Puglia Area and actually came first to Lecce, because of the inspiration of the movie “Mine Vaganti” directed by Ferzan Ozpetek. And in this beautiful place, we stayed in B&B Palazzo Bernardini for 3 nights. This was such a stunning B&B. The helpful and sincere approach of Isabella ( the owner of the hotel) was really impressive. The suite was furnished with beautiful antiques. A large living room opened to a large bedroom that opened onto a small terrace with a view of beautiful trees and flowers. The breakfast was with local croissant and special breads of Lecce; it was nice… Lecce is one of the nicest and historical little towns in Italy. And if you need a B&B, don’t look further..”

“A very nice comedy based on the following premise: is being gay or straight the right definition of a person? It's well acted, moving and Italy is such a beautiful country!”

“The film is handsomely filmed and the great looking, almost-perfect settings only seem to enhanced the imperfections of the family itself. The editing (and direction) both seem a bit too pleased with themselves: some scenes could have gained something by being trimmed a bit.”

46

Overall summary

Apulia

KEY CONCLUSIONS

Despite the fact that two of Apulia’s productions were

not widely distributed outside of Italy, the region still

managed to perform reasonably well in terms of LPV.

Beautiful scenery will always catch the audience’s eye,

and that they may subsequently visit a region based

on this alone, regardless of production quality/rating.

Just one memorable scene in a production can

associate it with the region, and with lasting effect

(e.g. Che bella giornata’s Alberobello baptism).

A relatively ‘unimportant’ feature location (e.g.

Fasano) can still capture the imagination of the

audience and attract visitors as a result.

1. PRODUCTIONS PERFORM WELL, DESPITE CHALLENGES

3. SCENERY SELLS

2. MAKE IT MEMORABLE

4. FEATURE LOCATIONS CAN STILL WORK

47

Region 4 – Malta

Data summary

Malta

Since all of Malta’s productions are well known, it was very easy to find location-based discussion online for all three. However, since Malta is almost always less ‘featured’ or recognisable as a setting in these productions, they provide a good contrast to the London productions and each produced unique insight as a result.



“Oliver Reed at The Pub, Valletta, Malta. #gladiator”

49

Data summary

Malta

€1.3M GAME OF THRONES (2011-present)

GLADIATOR (2000)

POPEYE (1980)

€1.1M

€12.2M


60% MALE 40% FEMALE

70% MALE 30%

FEMALE

50% FEMALE

50% MALE

25-35

45-60

35-60+

MIXED

70% UK 12% US

18% Other

50% US 50% UK

85% OTHER 15% PRODUCTION


17% BY CHANCE

ANOMALOUS: Commentators were likely to have watched the production after having

visited a prime filming location in Malta

PRODUCTION

50

LPV Scorecard

Game of Thrones (television series, 2011-present)

① Despite being filmed in many other locations, Game

of Thrones did generate a small amount of location-

based commentary for Malta and many fans of the

series knew that it was partly filmed there (68% of

mentions surrounding the Maltese locations also

knew it was filmed there).



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


25-35

MIXED (FROM 8 COUNTRIES)

VERY POSITIVE


€1.3m ② General tourism was also a topic of conversation, and

this revealed that many people had visited Maltabefore realising that it was used as a filming locationfor Game of Thrones.

③ Aside of Malta mentions in general (32%), locationsreferred to included Mdina (17%), Azure Window(9%) and both Valetta and Dwejra (4%).

0%

20%

40%

60%

80%

100%


Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

Sample: 124

51

Key insights

Game of Thrones (television series, 2011)

Attracts a lot of location-based commentary. One theme of the conversation reveals that many fans have visited Malta and then only realised later that it was a setting for the series. This suggests that more could be done to promote awareness of Malta on the Game of Thrones screen tourist trail (since some that knew it was a location did visit).

“Wait, they shot in Mdina? Damn! I was there back in October last year and never even knew they filmed in Malta otherwise I would of made a point of finding that. Damnit.”

“Same here. I was there last month. Gutted.”

“Me Too... Wish i had known...”

“I was there last month! Can't believe I totally missed the opportunity to look up where GoT was filmed. I knew some parts were filmed in Malta, but had no idea I walked right pass some of them!”



52

0%

20%

40%

60%

80%

100%



Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

LPV Scorecard

Gladiator (feature film, 2000)

① There was a surprisingly high location exposure

generated by Gladiator, since none of the locations

featured are easily recognisable as Malta.

② The main topics of conversation were general

tourism (42%), landscape (22%), ‘shrining’ (15%) and

‘pilgrimage’ (4%).



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


45-60

70% UK / 12% US / 18% OTHER

POSITIVE


17% BY CHANCE

€1.1m ③ Key locations mentioned were the bar where Oliver

Reed died (52%), Malta in general (13%), Fort

Ricasoli (8%) and Valetta (3%). Other mentions were

general references to fictional or unrecognised

locations (21%).

Sample: 77

53

Key insights

Gladiator (feature film, 2000)

Gladiator is strongly associated with Malta through online location-based commentary, however this is not necessarily solely because of the impressive buildings and landscape featured (which was also a factor). It is also possible to observe the location-association effect that has been produced by the unfortunate and unexpected circumstance of Oliver Reed’s death in Malta during the filming. Therefore, location placement is not solely limited to on-screen representation, and off-screen events can also have an effect.

“I’ve been to The Pub in Republic Street Valletta where Olly Reed spent his last liri on loads of booze before going to sleep forever. It’s only tiny but worth a visit for any Olly fans.”

“What a great place Olly’s last pub really nice to pay your respects and have a drink to the legend Oliver Reed me and my dad even got to sign a condolences book which was really nice and took some great pictures of inside the pub. the owner is a bit miserable but the pub itself is well worth a visit.”

“I went by the bar where Oliver Reed died in Valletta, Malta. I want to find other places where they filmed Gladiator”



54

0%

20%

40%

60%

80%

100%



Unsentimised

Very Positive

Positive

Mixed

Negative

Very Negative

LPV Scorecard

Popeye (feature film, 1980)

① Popeye has generated a large location-basedconversation for Malta, and many viewers are awarethat it was shot on a set in Malta.

② Topics of conversation entirely revolve around eitherthe film set (68%), general tourism (24%) or feelingsof nostalgia (7%) for both visiting the set as a child orseeing it in the movie.



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


35-60+

50% UK / 50% US

VERY POSITIVE

ANOMALOUS: Commentators were likely to have watched the production

after having visited

€12.2m ③ This conversation is almost entirely driven byreferences to the Sweethaven film set (Popeyevillage) that still stands in Malta as a touristattraction. Sentiment towards this location isgenerally very positive, albeit with a few referencesto its age and poor maintenance.

Sample: 129

55

Key insights

Popeye (feature film, 1980)

Location-based commentary for Popeye is abundant online due to the entire film set of ‘Popeye village’ – or ‘Sweethaven’ – being still intact on the island as a popular tourist attraction in its own right. Many people visit the set before having seen the movie, and thus this production presents an anomaly whereby the location serves to provide powerful ongoing promotion for the movie.

“I bought this DVD for my grandson's birthday after visiting the film set in Malta. He'd never heard of Popeye, but has watched the film six times and he loves it.”

“Bought this originally on video in Malta after visiting the film set about 20 years ago. Wanted to show my kids before we went back - they loved it, and every time we visit the film set we have to watch it again!”

“Just sharing a quick photo I took with my phone this morning, at Popeye Village, Malta. Salutations!”

“We were here a few years ago with kids they had an absolute ball and we enjoyed it too!! Got the video out when we got home and they really enjoyed picking out the houses they had been in.”

“This is where they filmed the Popeye film, and it is exactly as it was in the film, it is superb, and brilliant for the kids. One tip watch the film before you go you will appreciate it more.”

“I thought the set (Sweethaven), was very comical yet useable, liveable and the "no sense of time" previously mentioned just brings it out more. I'd visit it if I were ever to travel near Malta.”



56

Overall summary

Malta

KEY CONCLUSIONS

The audience of fantasy productions – or any

productions that use ‘stand in’ locations – will benefit

from clarity as to where their production was filmed.

A location’s novelty can result in the lasting promotion

of a production, even 34 years after it was originally

released (i.e. Popeye, 1980).

Events surrounding productions can often become as

famous as the production itself, and often become

forever associated with the location as a result.

Given that Malta is not widely known to be a featured

location in any of the three productions chosen, it has

performed exceptionally well.

1. TELL US WHERE IT’S FILMED

3. NOVELTY AND LEGACY

2. LOCATION VALUE TRANSCENDS FILM PLACEMENT

4. GENERAL NOTE

57

Findings & Appendix

Overall Summary

Demonstrates the successful application of a social media-based methodology to the measurement of LPV in 12 unique productions across multiple languages (including one series of films).

Shows that television series’ perform as well as feature films in their LPV – and often perform even better if the location is both contemporary or easily recognisable.

1. SOCIAL WEB RESEARCH IS APPROPRIATE

3. TELEVISION AND FILMS BOTH PERFORM WELL

2. PRODUCTION SETTING IS RELATED TO EXPOSURE

4. LPV RELIES ON LOCATION AND PRODUCTION QUALITY

Exposes the link between a production’s setting and subsequent location-based exposure and/or documented visits to a location. To what degree depends on the specificities of the production and the nature of the featured location (fictional, recognisable, etc.).

Shows that LPV is a product of both the location and the production’s intrinsic qualities, and should not be seen as dependent on either alone.

Key conclusions

59

Recommendations for Further Research Tracking, expansion & data blending

Consider a ‘tracking’ programme to investigate how LPV may change over time (e.g. before, during, and after production releases) and adjust the scope of the research’s timeframe accordingly.

Consider integrating GDP and tourist value statistics if working in partnership with tourism agencies (e.g. place a value on the conversation/visitor origin to increase granularity of the digital landscape’s value).

1. TRACK OVER TIME

3. DATA BLENDING

2. LANGUAGE SUPPORT

4. MEASURE COUNTRY LEVEL & FANTASY LOCATIONS

Increase language support for productions that are

only known within their country of origin or are

exported into markets with a different language.

Structure and rank ‘location awareness’ for country as

well as region. Also, consider incorporating and

ranking fictional locations as well.

60

Appendix: Data Visualisation & Access Dashboard

For added transparency and future

discussion, Human Digital have provided a

sample of the data used in this study at the

following address:

http://dash.human-digital.com/euroscreen

This dashboard features content used in

the qualitative analysis of the report. The

sample displayed represents the top 75% of

our total sample when ranked by ‘relative

influence’ – i.e. how influential a piece of

content is online in relative terms of reach

(visibility) and engagement (amount of

people that have interacted with it).

The data is also ranked by location

sentiment (on the x-axis), and is filterable

by production, region, user demographic,

and platform/channel type.

61










Buchmann, A.K In the Footsteps of the Fellowship – Understanding the Expectations and Experiences of Lord of the Rings Tourists on Guided Tours of New Zealand. Lincoln University, Lincoln, 2007. Cloudberry Communications, The Millennium Report Economic Impact and Exposure Value for the Stockholm region in the Swedish Millennium Feature Films. Cloudberry Communications, Stockholm, 2011. Croy, G The Lord of the Rings, New Zealand and Film Tourism: Image Building with Film. Department of Management Monash University, Melbourne, 2004. European Audiovisual Observatory, Database on Admissions of Films Released in Europe (http://lumiere.obs.coe.int/) EuroScreen, Case Studies 2013. London, 2013. Kraaijenzank, M Movie Induced Tourism an Analytical Report on how The Lord of the Rings Trilogy has Affected Tourism in New Zealand. Aalborg University, Aalborg, 2007. Mansson, Maria & Eskilsson, Lena, EuroScreen - The Attraction of Screen Destinations: Baseline Report Assessing Best Practice, 2013. Olsberg SPI, Stately Attraction How Film and Television Programmes Promote Tourism in the UK, 2007. Oxford Economics, The Economic Impact of the UK Film Industry, 2012. Vagionis, N ‘Movies as a Tool of Modern Tourist Marketing’ – Tourismos Volume 6, Autumn 2011, pp. 353 -362. Ystad Kommun, The Movie Town Ystad, Media Analysis, 2012.

Bibliography

62

About Human Digital

Project Team – Quantifying Location Placement Value

OSMAN JUNAID

SIMON RICHARDSON

[email protected]

[email protected]

63

HUMAN DIGITAL PORTLAND HOUSE

4 GREAT PORTLAND STREET LONDON W1W 8QL

+44 020 7404 6434 [email protected]

Who we are

2011: Becomes part of the M&C Saatchi Group

2014: Partnership with Capgemini Consulting

2008: Founded by Sarah Ward (CEO)

Who We Are

PROFESSIONAL SERVICES

CONSUMER

PUBLIC SERVICES

EVENTS & ENTERTAINMENT

ADVERTISING / PR AGENCY

CHARACTER BASED LANGUAGES Urdu phrase: Transliteration: Mujhe Daktar Ki Zururat He! Translation: I need a doctor!

SENTIMENT Geordie phrase: “howay man!” Translation: Proclamation of exhortation or encouragement (crucially, it can be both positive and negative!) Usage 1: "Howay man! We gannin' doon Morrisons to beat the queue?” (Unsentimised) Usage 2: “HOWAY THE TOON!!!” (Positive) Usage 3: “Howay, then” (Based on context, negative)

SLANG Scouse word: “scran” Translation: Food Usage: 'Off to me ma's for tea - she does proper boss scran, y'know.’

Context: Quantification of Words and Pictures

Social media data is challenging to quantify since much of it appears as word, picture and video (as opposed to more binary forms

such as transactional or sales data). For this reason, it is critical for early human intervention during the verification process to ensure

high levels of accuracy. Human Digital applies an indexing methodology that allows words and pictures to be quantified using

engagement, reach and share of voice metrics. It is for this reason that we remain the agency of choice for Transport for London, RBS,

Pearl and Dean and Unilever amongst others.

CO

NTE

NT

VIS

IBIL

ITY

500 x bigger

than the

Surface Web

The machine readable web

Unreadable

by machines

Deep Web

Requires native speaking,

human-led verification

Surface Web

Context: The Asymmetric Web

Our methodology is not constrained to the ‘Surface Web’ – the section of the web accessible to machine-collecting technologies. We consider every local social platform across every market. Doing so enables us to establish where target audiences naturally exist.

Our Research Process

SOURCE ANALYSE ORGANISE REPORT

Unstructured data collection 1) Viewing the world through the

consumers’ eyes 2) Locating primary locations of

engagement & content creation 3) Collecting all relevant UGC

Data structuring 1) Topics of discussion 2) Sentiment codification 3) Consumer journey

stages 4) All other KPIs

Human-led analysis

1) Accounting for linguistic nuance & idiom

2) Foreign language analysis 3) Cultural context 4) Utilising our team’s expertise

Reporting

Not just answering questions, but defining them, based on what consumers really feel.

EuroScreen Partners

Agenţia pentru Dezvoltare Regională Bucureşti-Ilfov

EuroScreen Consultants

www.euroscreen.org.uk@[email protected]

Film London Partner

Documents

Euroscreen: Quantifying Location Placement Value