Write it as Art, sell it as baked beans… How to publicise stage shows, movies, books, TV and Shakespeare

Sit back, relax and have a cup of tea.

Throughout my life, whenever I’ve been asked what I do, I have never been able to give any understandable answer because the truth is I’ve really just bummed around doing overlapping this, that and sometimes the other.

One thing I used to do was review and write feature articles about movies, so I saw previews a week or a month before the films were released, having read little or nothing at all about them.

I saw them ‘cold’ as they were structured to be seen.

That blissful ignorance happened again last night with the movie The Adjustment Bureau. I had read nothing at all about it. I knew it starred Matt Damon, was based on a short story by Philip K Dick (who wrote the stories on which Blade Runner, Total Recall and Minority Report were based) and, on the poster, Matt Damon and a girl in a red dress were running away from people chasing them in a city.

That was it.

So last night I saw The Adjustment Bureau cold and thought it was a fascinating film – quite often totally doolally, but fascinating. It is severely weird for a commercial film and it is well worth seeing.

But the poster bears no relation at all to the basic content of the movie – to the extent that it even implies The Adjustment Bureau is in one particular type of movie genre when it is actually a totally different movie genre (I don’t want to give it away).

So that’s an example of a misleading movie poster successfully attempting to get bums on seats. It’s a potentially counter-productive strategy because word-of-mouth soon gets round.

I’m interested because another thing I did – for over twenty plus years – was make on-screen TV promotions – ‘trailers’.

I was a writer or producer or director or writer-producer or writer-director or whatever it took a company’s fancy to call the job.

So I am interested in how creative products are ‘sold’ to the audience.

A couple of days ago, someone asked me about their 40-word show entry for the Edinburgh Fringe Programme.

My advice was the same advice I give on anything creative.

Write it as Art.

Sell it as baked beans.

If the content is high quality in itself, it won’t be demeaned by a tabloid headline type of publicity.

There’s nothing wrong with being populist.

The opposite of popular is unpopular.

The creative work itself is what you want people to read, hear or see. It can be as subtle and/or as sophisticated as you want. Publicity is another matter. Publicity is like someone standing outside, in a busy street, with lots of other audio distractions, yelling through a megaphone to try to get people to notice you and your creation exist.

If it fails, no-one will see what you have struggled to create. So don’t knock it.

If you are in Piccadilly Circus or the High Street in Edinburgh amid 150 other people yelling about what they’ve done, then you need to be loud to be heard and you need to wear bright colours to be seen.

I’ve also written books. In standard publishing contracts, the author gets total control over the text inside a book – the publisher cannot change it without the author’s permission. But the publisher has total contractual control over the design of and text on the cover. There is a reason for this.

What is inside the book is the artistic creation you want people to experience. What is on the cover is advertising and promotion aimed at intriguing potential readers into picking up and buying the book and its unknown content.

Publicity is persuading as many people as possible to buy an invisible pig inside a bag.

In its own way, it is equally creative. But it is different.

Content is a different form of creativity from publicity.

In television, the last thing you want is for a director to make the promotion for his own TV programme. The result is almost always shit. For one thing, he or she is too close to it to be objective. Also, he or she may be able  to make a great 30 or 60 or 90 minute TV programme, but, trust me, he or she knows bugger all about selling a programme to the viewer in 20 seconds in the middle of other promos amid forests of £500,000 adverts for soap powder, cars and insurance companies.

There is a difference between creating something which will give a pastel-wearing theorist at the Arts Council a creative hard-on and creating something which will get people en masse to pay out money and/or spend time to read-hear-watch it.

Repetition is also not always bad.

There is nothing wrong with populism.

The opposite of popular is unpopular.

‘Populist’ is just a word meaning ‘popular’ made up by people who can’t create anything popular themselves and want to save their egos by trying to seem culturally superior.

Shakespeare was never less than populist.

Macbeth was written by Shakespeare because the new English King James I was actually King James VI of Scotland who was interested in witchcraft and the supernatural. So what better way to suck up to the new King and revived public interest in the supernatural than to write a Scottish play with witches and ghosts in it? And bung in death, destruction, gore and swearing.

The best Shakespeare film I have ever seen is Baz Luhrmann‘s movie William Shakespeare’s Romeo + Juliet – a movie so untraditional and in-yer-face that, the first time you see it, it takes about five minutes to adjust to the OTT style.

The second best Shakespeare film I have ever seen is Roman Polanski’s Macbeth, financed by Playboy magazine, with Lady Macbeth nude in the sleepwalking scene and awash with more blood than the Colosseum on a bad day for Christians. It was the first film Polanski directed after his wife Sharon Tate was butchered.

I’m sure Shakespeare would have loved both movies because they are real audience pleasers. Once you get people in and watching, you can communicate any in-depth piece of philosophical seriousness you want.

Reverting to my chum who wrote 40 words on their Edinburgh Fringe show… The first version was ineffective because it described the plot rather than push the unique selling points of the show.

I asked: “Don’t tell me what’s IN it, tell me what it’s ABOUT.”

You want to say what it is ABOUT – what made you want to create the thing in the first place. And that, in fact, is how to promote bad productions too.

My rule of thumb in TV promotions was never to mislead or lie about a programme to the audience. If it was shit, I tried to figure out what the original concept was that got the producer, director and cast keen to make it.

No-one intends to create a shit book, play, comedy show, TV series, movie or whatever.

In promoting anything, part of what you want to communicate is whatever made the people involved keen to create it in the first place. If the audience can be interested in the concept as much as the failed creators originally were, then you may get an audience and they won’t feel too let down because what they have been told is there actually IS there. Even if it’s not very good.

If the creative product is good – as The Adjustment Bureau is – then that’s even better.

Pity their poster was so misleading.

Of course, some things are so shit, the only thing to do is to get in and get out fast before the word-of-mouth gets round.

A death in Scotland yesterday, Albert Einstein and the legend of the horsemen of Central Asia

Yesterday morning, the morning of Christmas Eve, my mother’s cousin died at home in Scotland.

Here is the closing passage from a book I almost wrote: the biography of an Italian archaeologist. There were personality problems. It may still get written…

***

“One of the most famous legends of Central Asia tells of a horseman,” he told me as we sat in his book-lined room in Rome. “The horseman is the standard-bearer of the great Khan. As the Khan’s army are entering a city after a glorious victory, the standard-bearer sees a dark lady looking at him. The dark lady has fearsome eyes, as if she is looking right inside him. He becomes scared that this woman is a witch and she has put the Evil Eye on him, so he goes to the great Khan and tells him his fears and says he wants to go to another city.

“Of course! says the great Khan. Give him the finest horse we have! Let him escape!

“So the standard-bearer takes the fastest horse in the Great Khan’s army, rides off across the desert and, in record time, arrives at the other city. Then he sees the dark lady standing by the city gates, waiting for him. She looks at him, smiles and says:

“I was so worried. I knew I was due to meet you here today but, when I saw you in that other city so very far away, I was worried that you would not reach here in time for our appointment.

“And the standard-bearer realises that the dark lady with the eyes that look right inside him is Death. I always feel I am running like the standard bearer,  that there is never enough time and I know I will never complete what I should do.

“Another Central Asian legend tells of a horseman who rides alone across the desert but, when he looks at the shadow he casts, he sees that Death is riding behind him. The shadow of her long scythe is touching his shadow as she swings it backwards and forwards. At any time, she may strike the final fatal blow but, until then, he only sees the shadow.

“Since Einstein’s Special Theory of Relativity, we know that time and space cannot be separated: if you travel across physical space, you are travelling through time as well. When I was given that bouquet of flowers in Iran, the past caught up with me. I had been running, turned round and saw a shadow. I realised I had managed to destroy my life piece by piece. I destroyed almost everything. Lovers, career, options, the potential for wealth, peace of mind, success.  I somehow managed to throw away all the possibilities. My failure at the Burnt City was too great to recover from. When I saw the site for the first time, remember I shit in my pants? When I sat in that tent and saw the sunlight coming through the flap and saw the desert, boundless and bare, stretching beyond. I couldn’t deal with it. I could feel the ground starting to go down and down in a spiral under my feet. I could see and feel Time sucking me in. But the irony is that, as an archaeologist, I don’t feel I’m dealing in dead and destroyed things. I feel the continuity and the importance of what has survived, lasted and developed. Archaeologists don’t uncover dead civilizations. They uncover the interplay between events and people.

“I know I was close to death in Kurdistan when the young boy shot me in the arm; I still bear the physical scar.

“I know I was closer to death when I was in Haiti and faced the Tonton Macoutes. That was really very close.

“But the effect of imminent physical death was much less on me than the effect of those events way back in my childhood. Those scars stay with you through time and they never heal. The first five years of your life are what is important because you are so receptive and the scale of importance given to each event is so gigantic. When I was about three, my father came and told me that, if I didn’t do some little unimportant thing he was going to beat me. I was three years old, looking up at this overwhelmingly strong adult who was looking down at me with a very serious face. I felt so helpless and in such immediate danger. But my father was just joking. Joking! The result was that all the insecurities started to take hold of my mind and, later in life, I wanted to either control my insecurities or run away from them or both. I never wanted to feel that helpless again. My father doesn’t even remember it happening. But I remember it vividly 51 years later. The scars have travelled through time like the bullet wound on my arm.

“Maybe you are even affected before you are born. The foetus is receptive to light and sound and voices and pressures and pains and chemical variations in the body of your mother…..and your individual mind – your unique neural map – is formed at the same time your brain is formed. By the time you are five years old, maybe 80%, 90% of your future is already within you?

“People tell me I have a good memory for dates, but even I am still surprised how vivid something that happened 51 years ago can be in my mind. Things that happened 10 years ago are as vivid as the present. I remember my days with Wendy the Wessex Bird so vividly. The feeling of her body; the first time I penetrated her. Just a week ago, I saw Ingrid crossing a street in Rome to avoid meeting me. She is now 48 and still looks lovely; I could vividly remember her coming through a door thirty years ago. As vivid as yesterday. The past is not the past; it is still living today, travelling with you in your memory.

“If I find a ruined building, I need to know what happened inside the building: the forces that co-operated to make it what it was. The energy and social inter-action. About 5,000 years ago, the Arabian civilization was created. But it is not a distant planet. Those ‘dead’ things and ‘dead’ people’s actions are alive because of the long-term effects of their existence and their actions. That is the psychology of archaeology. It is like a giant meteor falling on Earth; it creates all kinds of changes and has all kinds of after-effects. When you watch a stone thrown into a pool, the effects ripple out and eventually disappear but, with events in history everything is linked. In order to understand the Arabian civilization of 3,000 BC, you have to go back to what was happening between 5,000 BC and 4,000 BC. Ruins don’t talk; what talks is the actions of people and you can only judge people by their actions.

“At the end of the Don Juan story, as I remember it, he is having dinner with Doña Aminta who is a depressed, boring, unhappy woman. But he has also invited the Stone Guest to dinner – the ghost of Don Gonzalo, whom he killed. While Doña Aminta is praying, the hellish Stone Guest invites Don Juan to follow him to Hell. He is not dragged or kidnapped…he has a free choice between life with a depressive, unhappy woman and the road to Hell. And Don Juan chooses to go to Hell. That’s my choice too. I want to be engulfed in the flames.

“I don’t want any name on my grave, because I have never had a name of my own,” he told me. “I only want those two lines from Samuel Taylor Coleridge’s Kubla Khan.”

For he on honey-dew hath fed,
And drunk the milk of Paradise.

“Do you remember the four lines before that quote?” I asked.

“I forget,” he said unconvincingly.

“The full quote is better,” I suggested.

And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.

But, when he died at the very start of the 21st century, it was suddenly and violently and there was no tombstone because there was no body. He had gone to talk to an acquauintance in the New World. The acquaintance’s office was high atop a tower which looked down on the rest of the world as if from heaven. I checked which side of the building the office was on. He must have have stood high up in the financial district of New York early on that bright, clear September morning and seen the plane coming straight at the building. He was consumed in the flames when that first airliner hit the World Trade Center on Tuesday 11th September 2001.