TARGET MARKET OF THE "WELCOME TO HOLLYWOOD" CAMPAIGN

More than 80 percent of households in the United States owned VCRs in the late 1990s, and these households were filled with potential Hollywood Video customers. As a result Hollywood’s target audience was quite broad. The company’s advertising agency indicated that Hollywood’s target market consisted of those aged 18 to 45 as well as suburban families with children. Wattles discussed the company’s consumer target in an interview in the Wall Street Transcript in 1994 and said, ‘‘ . . . when the advertising agencies ask what your demographic profile is, I say, ‘Alive.’’’ Nearly everyone, Wattles elaborated, enjoyed watching movies. ‘‘One thing that’s nice about our business is our demographic profile. It’s so simple. Obviously there are demographic profiles of people who watch more movies than others but the curve is very slight. We’re not just a teenage business, or a midlife business, or an X-generation business.’’ To appeal to this wide audience, Hollywood Video stores focused on the one thing all the customers shared—the love of movies. ‘‘Our store design, our marketing, and our advertising reflect the name and image of Hollywood,’’ he explained. ‘‘We try to create an exciting environment that is movie and/or movie star oriented.’’ Though Hollywood Video’s audience was sizeable, many viewers were growing increasingly distracted by new entertainment technologies and options, such as pay-per-view television programming, digital video disks (DVD), the Internet, and expanded offerings from cable television and direct broadcast satellite. Industry analysts labeled the video-rental market mature, with little growth left. According to a study for the Video Software Rental Association, total revenue from the rental market declined 4.2 percent in 1997. Tom Wolzien, an analyst with Sanford C. Bernstein, pointed to a 1996 poll of 1,000 households with satellite television programming that discovered a 70 percent drop in video rentals. Still, many believed an audience for video rentals remained. Roffman Miller Associates’ Marvin Roffman told the Los Angeles Daily News: ‘‘There were a lot of people on Wall Street that were giving the death knell to the industry . . . [b]ut it’s probably not going to die for a long time. Home video is still a very viable business.’’ Hollywood Video believed this as well, and to continue to attract customers the company implemented many customeroriented policies, such as lower rental prices, guaranteed availability of popular rentals, and five-day rentals on every video in the store. According to the Portland Oregonian, Wattles was not intimidated by new technologies or forecasts of doom; Hollywood Video would, Wattles stated, change with the times and with clientele tastes. ‘‘As long as interest in movies continues, . . . there will be opportunities,’’ Wattles vowed.

HISTORICAL CONTEXT OF THE "WELCOME TO HOLLYWOOD" CAMPAIGN

Hollywood Video first opened its doors in 1988 with one store in Portland, Oregon, run by owner Wattles and his wife. From the outset Hollywood Video stores were large, brightly lit with an abundance of neon, and had 50 to 70 television monitors blasting the latest video offers. Employees dressed in red bow ties and cummerbunds. Every detail was designed to mimic the excitement and bright lights of Hollywood. And like Hollywood and the movie industry, Hollywood Video moved quickly and aggressively—only five years after its formation and with a total of 16 stores, the company went public. With the acquisition of Texas video-rental chain Video Central in 1994, the number of Hollywood Video stores rose to 100, and by 1995 the company was the third largest video-rental chain in the United States. By 1996 Hollywood had assumed the numbertwo position, and the company reported net income in 1996 of $20.63 million, a surge of 75 percent over net income in 1995, which was $11.79 million. The company had more than 500 stores in 29 states by October of 1996. Wattles told the Portland Oregonian, ‘‘In the third quarter [of 1996], we averaged better than a new store opening every 36 hours . . . and in the fourth quarter we plan on averaging over a new store every 24 hours.’’ In 1997 the company opened 356 new stores, and net income continued to rise—in the second quarter of 1997, Hollywood enjoyed an 83 percent increase in profits.

OVERVIEW OF THE "WELCOME TO HOLLYWOOD" CAMPAIGN

Hollywood Entertainment Corporation hurtled into 1998 at a screaming expansion pace for its chain of Hollywood Video retail stores—the company planned to open more than 353 new stores in 1998 to bring the total number up to 1,260 by year’s end. The decade-old chain of superstores had quickly become the second largest video-rental chain in the nation, and chairman, founder, and CEO Mark J. Wattles believed that Hollywood Video had ample opportunity for growth. ‘‘[In 1993] we were a 15 store chain and embarked on a very aggressive store opening schedule.’’Wattles announced in a prepared statement. ‘‘Last week [April 13, 1998] we opened our 1,000th video superstore and we plan on opening our 2,000th within the next three years. With over 20,000 employees, and a very strong management team, we are not only focused on growth, but the continued improvement of our operations, as well.’’
To position Hollywood Video as the superlative entertainment store, Hollywood Entertainment launched its first major branding campaign in May 1998. Developed by
New York-based Cliff Freeman and Partners, an agency known for its creative, cutting-edge work, the ‘‘Welcome to Hollywood’’ campaign consisted of nine television spots and eight radio ads. The radio ads followed the theme ‘‘Sixty Second Theater’’ and provided humorous synopses of popular movie plots. The television ads were set in Hollywood Video stores and featured store employees in amusing behind-the-scenes situations. Wattles discussed the purpose of the campaign—estimated to have cost anywhere from $11 million to $20 million—at the company shareholders’ meeting in May 1998. ‘‘We want to be a brand so powerful that when you think of movies you think of Hollywood [Video],’’ he said. President and COO Jeff Yapp agreed. ‘‘We want our customers to think of Hollywood Video as their inside connection to Hollywood and the world of entertainment,’’ Yapp said in a prepared statement. ‘‘As our mission statement says, ‘We are Hollywood. We are entertainment.’ ’’

OUTCOME OF THE IT HAPPENS AT THE HILTON CAMPAIGN

Hilton was delighted with the results of ‘‘It Happens at the Hilton.’’ Consumer surveys indicated that the campaign had performed well above expectations in reaching its target audience. Moreover, research revealed that Hilton had successfully negotiated the risks of incorporating famous personalities, according to Hilton’s vice president of marketing. Despite the company’s concerns, the campaign had remained rooted to the product it touted. Consumers understood that the celebrity photos were used to underscore the unique qualities of the hotel—that things ‘‘happened there’’—and did not feel put off by them. Hilton continued the campaign into 1999.
The company was so impressed with the effectiveness of ‘‘It Happens at the Hilton’’ that it extended the campaign for internal use. Just as ‘‘It Happens at the Hilton’’ signaled to consumers a new identity for the venerable old hotel, the company inaugurated ‘‘Hilton Pride Makes It Happen’’ to bring this same message to its staff. These posters strove to remind employees that the ‘‘new’’ Hilton was their creation and responsibility and that they should take pride in the hotels where they worked.

MARKETING STRATEGY OF THE IT HAPPENS AT THE HILTON CAMPAIGN

Hilton’s challenge was to distinguish its brand from the numerous competing upscale hotel chains. It’s first objective was, therefore, to make ‘‘It Happens at the Hilton’’ stand out from other hotel advertising. ‘‘There is a lot of hotel advertising out there, but if you take the logo off, they are almost interchangeable,’’ a Bozell executive told Advertising Age on October 5, 1998. Using celebrities to represent the brand was essential to this agenda. But this approach was not without its danger. While ‘‘celebritydriven ad campaigns [were] immediate attention-getters’’ that could break ‘‘through the clutter,’’ of other advertising, the Chicago Tribune noted, Hilton’s effort ran the risk of having consumers confuse its brand with those of other companies the celebrities had endorsed in the past. Alternately, consumers might assume that Hilton was too exclusive, if the likes of Naomi Campbell lodged there. ‘‘We had been concerned that the creative concept featuring personalities might not be relevant to everyday guests,’’ Dirks said to Advertising Age International. To alleviate this risk, Hilton and Bozell conducted extensive pre-launch testing in key Hilton markets, such as Los Angeles, New York, and London, to ensure that ‘‘It Happens at the Hilton’’ was accessible to its target audience.
Having cleared this hurdle, Hilton’s next task was to bring the message of the campaign—that guests should expect a memorable experience when staying at the Hilton—to its chosen audience of elite business and leisure travelers. Print was the predominant medium used because of its ability to hone in on select niches. For instance, since frequent business travelers were a key market, Hilton erected poster versions of the spots at international airports and ran them in in-flight magazines such as American Way and Delta Sky. To address business people even when they were not on the road, Hilton also advertised in publications including the Financial Times, Business Week, Time, Newsweek, U.S. News & World Report, as well as major market newspapers, such as the Wall Street Journal, USA Today, and the New York Times. Moreover, Hilton utilized travel magazines so that it could connect with consumers planning leisure travel. Hilton placed ads in Travel & Leisure and Conde Nast Traveler as well as in family-focused magazines such as Family Fun and Travel & Leisure Family. Finally, Hilton pitched ‘‘It Happens at the Hilton’’ to meeting planners at large corporations by printing the pieces in meeting planner magazines. There was also a small portion of the campaign devoted to television. For the most part, Hilton would trade rooms for airtime on programs such as Entertainment Weekly and broadcasts of the Oscars and Grammys. These short 15-second spots employed the ‘‘It Happens at the Hilton’’ tag line.
The campaign was global in its scope, running on four continents. The first two print pieces broke not only in the United States and Canada, but also in Australia, the United Kingdom, Germany, and various Asian nations. Publications in each country were used, such as the Frankfurter Allgemeine Zeitung in Germany. The international focus was imperative if Hilton was to reach the growing market of American business people who traveled frequently, as well as international business travelers around the world. According to a company press release, Hilton wanted the campaign to be seen by more than three-quarters of international business travelers.

COMPETITION OF THE IT HAPPENS AT THE HILTON CAMPAIGN

Hilton’s quest to forge a unified brand image occurred while many of its rival upscale hotel chains were striving to do the same. According to the Wall Street Journal, hotel occupancy rates in 1998 had reached a four year low because of overbuilding. At the same time, the industry was in the midst of a significant consolidation. Chains such as Marriott and Renaissance merged with each other to help bolster their presence on a national and global scale. The result of these agglomerations was a degree of industry-wide uniformity, as local or regional properties with their distinct characteristics, selling points, or histories, were folded into often generic multinational conglomerates. ‘‘If you ever stay in a three- or four-star hotel, they are increasingly offering more or less the same product and levels of comfort,’’ Greg Delaney, one of the creative forces behind ‘‘It Happens at the Hilton,’’ told Marketing Week. While hotels had once used such features as excellent service or a four-star dining room to differentiate themselves, by the mid-1990s, ‘‘these [were] standard in each sector,’’ noted Marketing Week. ‘‘The only way that hoteliers [could now] stand out [was] through brand building.’’
One of Hilton’s most formidable rivals was the Hyatt Hotels Corporation, which embarked on an updated global branding campaign in 1999. Created by agency Cramer Krasselt, these print ads targeted individual business and leisure travelers, meeting planners, travel agents, and corporate travel planners. While the campaign built upon Hyatt’s slogan from a pre-existing campaign, ‘‘Feel the Hyatt Touch,’’ it avoided the conventional formula of using service and traveler bonus programs as its focal point. Like Hilton, Hyatt acknowledged that ‘‘in the minds of our target audience, the difference between major hotel chains is becoming less and less apparent,’’ a Hyatt spokesperson told Advertising Age on October 19, 1998.
Another large hotelier, Holiday Inn Worldwide, had launched its first branding campaign in 1997 to support its Crowne Plaza chain of high-end hotels. This campaign, ‘‘Get to Know Us, We’ll Get to Know You,’’ used famous ‘‘business personalities . . . to give the somewhat stony corporation a relatable face,’’ explained the January 27, 1997, Brandweek. With agency Scaros & Casselman, Crowne selected celebrities who reflected the interests of its targeted guests to appear in its ads. For instance, Crowne used Armour Golf CEO Michael Magerman in a television spot that humorously showed hotel staffers so accustomed to Magerman’s indoor golfing that they gracefully avoid golf balls flying across lobby floors as a matter of course. ‘‘A lot of upscale hotel users’ principal hobby is golf,’’ Crowne’s marketing vice president told Brandweek. ‘‘Michael Magerman is an up-and-coming CEO, and, at 34, a prototypical Crowne Plaza user.’’ Other spots depicted various comparable business leaders.
Some of Hilton’s other competitors began to institute similar marketing programs as well. Marriott International, which had acquired Renaissance in 1997, consolidated its massive ad account in 1998 in order to better broadcast its message. Promus Hotels Corporation’s Doubletree and Wyndham Hotels and Resorts, on the other hand, continued to stress the traditional attributes of pleasant rooms and attentive service, according to the June 28, 1999, issue of Advertising Age.

TARGET MARKET OF THE IT HAPPENS AT THE HILTON CAMPAIGN

According to Advertising Age International, ‘‘It Happens at the Hilton’’ strove to appeal to people between the ages of 35 and 50 who were ‘‘active achievers among business and leisure groups.’’ It would certainly be a challenge to attract an audience this broad within the confines of a single campaign. To do so, HHC opted to use a diverse array of photographs in the ‘‘It Happens at the Hilton’’ ads in the hope that this multifaceted approach would connect with consumers on various levels. For example, HHC chose to use images of celebrities from different generations at Hilton hotels both to grab people’s attention with the famous faces and to reinforce the notion that Hilton had a long and storied history. The use of political icons such as Nelson Mandela and Winston Churchill was intended to lend the campaign a particular gravitas, which was calculated to appeal to the elite business travelers Hilton wanted to reach. At the same time, the images of iconoclast John Lennon and supermodel Naomi Campbell ensured that the campaign would appear neither stuffy nor dated. In fact, the incorporation of celebrities such as these into the branding campaign let Hilton speak to a more statusconscious and upscale group of travelers. ‘‘The implied message to Hilton customers is, ‘If it happens for these people at Hilton, it can happen for me too,’ ’’ Dirks explained. In a period when affluent business and recreational travelers had a slew of hotel options, ‘‘It Happens at the Hilton’’ provided the hotel chain a certain cachet that played well to its more status-oriented guests. But Hilton was careful not to pursue this more upscale and business-oriented identity at the expense of other travelers. ‘‘We wanted consumers to know the hotel is accessible, not just for the rich and famous,’’ Ken Sakoda, a Bozell vice president, said in the October 5, 1998, issue of Advertising Age. The company therefore presented a variety of scenes of everyday people enjoying the Hilton’s amenities in order to balance the celebrity shots. Bozell also injected humor into these projects, and stressed the pleasure and convenience Hilton could bring to any vacation. In an ad for Hilton’s line of resorts, a couple is shown sprawled in lounge chairs on the beach. ‘‘Tailored vacations call for a fitting,’’ the tag line declared. By presenting reallife scenarios—such as weddings or stressed-out families in dire need of respite—Hilton made it possible for a whole other sector of consumers to relate to the scenes.