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“When you go to the cinema, you look up. When you watch television, you look down.” Long before the advent of video platforms, Jean-Luc Godard was already talking about the social experience of watching a film in a darkened movie theatre. So much has changed since then, starting with the number of weekly releases. How do you stay ahead of the game in this sea of content? Has the advent of Netflix really sounded the death knell for cinema? We spoke to Arnaud BRÉBION (who graduated the Grande École Program in 2016), Creative Marketing Lead at Pathé Films, who reminds us that cinema is first and foremost an industry. He takes us behind the scenes…

Did you enroll at IÉSEG with the aim of getting a job in the film industry?

I’ve always had a strong artistic streak, and I was sure I would combine my business school training with a creative industry. Music was my first choice, but that’s so important to me that I couldn’t bring myself to think of it as a business. I was able to be more detached about cinema, my second great love. It was when I saw David Lynch’s “Elephant Man” for the first time that I realized movies were more than just entertainment – cinema is an art form with the power to move people, and one to which I wanted to contribute my skills and ideas.

What can you tell us about Pathé Films, which you joined at the end of 2023?

Pathé Films is the film distribution subsidiary of the Pathé group (with 2,600 employees in six countries and a turnover of one billion euros) and its films account for more than a quarter of cinema admissions in France. With 12 releases in 2023 and the same number in 2024, we’re taking an ambitious approach that’s focused on quality rather than quantity. With this in mind, my role is to determine the marketing position of our films, in conjunction with the marketing department, then to oversee the creation of promotional material that will best reflect this positioning. We focus on two marketing levers: notoriety and desirability. A sequel to a famous feature film will naturally generate more notoriety, while a film starring Tom Cruise will, by default, make it more desirable than another film. But that’s not enough to make it a success. That’s where I come in, more specifically by overseeing the poster and trailer.

What do you think are the essentials for a good poster and an effective trailer?

There’s no magic formula, but there are elements that work to put the viewer at their ease. It’s important to remember that a significant majority of French people only go to the cinema once a year. To justify the time it takes, traveling to get there, the ticket price, paying the babysitter, etc., we shouldn’t be afraid to take them by the hand and give them a glimpse of what they’re going to see… even if that means we get criticized for “showing everything in the trailer”. The trailer should reflect the positioning of the film and go hand-in-hand with the poster: the poster should be intriguing and pose a question, while the trailer should to some extent answer that question. Either way, there’s nothing better than video to promote a motion picture.

How do you work with the teams who manage the upstream production of the feature films you distribute?

As a distributor, once we are sure of the quality and relevance of our promotional material, we have to convince the stakeholders (the producers and directors). Disagreements sometimes arise, followed by a game of ping-pong, with everyone batting their ideas back and forth. These are sometimes taken on board to make improvements. There’s a balance of power, depending on the degree of financial investment, but also a certain amount of politics. If our long-term aim is to secure the loyalty of a successful director, we’ll be more inclined to consider his or her vision.

Could you tell us how you go about the creative work you’re in charge of?

For the production of our promotional material, we collaborate closely with external agencies we work with on a regular basis and with the post-production teams of the feature films we are distributing. Whether it be music, film extracts, photos… nothing is left to chance, and every choice is based on a strategy clearly defined upstream. I feel lucky to be working with passionate, creative people who do their utmost to ensure that a work of art – which is also a marketing product – finds its audience. In the medium term, I’ll undoubtedly move away from creative duties to take on roles with more of a “big picture” vision, but always working for the “big screen”!

Which film promotions have particularly stood out for you, and which are you most looking forward to?

The promotion of “Lego Batman, the Movie” was memorable for its context and location. We chose a multitude of different formats, lower cost but more numerous (on subway trains, café terraces, etc.) so that no one could miss them. Next, it would have to be “Dunkirk” for its content. We realised one of the film’s themes was frustration, and that the trailer had to play on that. As soon as it starts, a countdown begins and the screen gradually closes. Finally, “Kaamelott, The First Chapter” for its event-driven approach, with previews all over France. I’ve never seen such a long queue outside the Grand Rex in Paris. For 2024, I can’t wait for the public to see “Monsieur Aznavour”, but also “The Count of Monte Cristo” – our most important release of the year. We’re hoping for a major hit with this period drama about a legendary figure.

Why do you think Netflix has not meant the end of the line for cinemas?

We all have a memory of sitting in a packed cinema, laughing or shaking with fear in unison: cinema is and will remain a social activity that brings strangers together to share an emotional experience. It takes you out of your everyday life, you switch off your phone, you go into a different world… It’s a kind of ceremony that no television screen can ever replace.

What advice would you give to alumni interested in the film industry in general and film distribution in particular?

Go to the cinema as much as possible! Not necessarily for the cultural aspect, but to get a feel for the business involved in showing a film. Then ask yourself this crucial question: do you want to work in an industry where the product being sold is an experience, or is it that you love the environment for the emotion it evokes? If your motivation is artistic, you’re likely to be disappointed by the “business” approach that is the foundation of a distribution company. That’s where the IÉSEG training came into its own for me, as it enabled me to understand the inner workings of a company and make rational choices. And if, after thinking about it, you still want to follow in my footsteps, I’d recommend reading the book “Le Marketing du Cinéma” by Jean-François CAMILLERI and Xavier ALBERT, widely considered to be an industry bible. After that, all that it remains for me to say is: “Action”!