entertainment-marketing
(86)
Diego Prusky and the question behind the website
A music label asked for a website. Diego Prusky found a larger problem: how to reach people when the rules keep changing. From Uruguay to Miami, the InPulse founder has kept asking before answering.
Michael Nyman and the art of starting over
After helping build PMK-BNC, Michael Nyman left to try a different arrangement: specialist agencies with reasons to work together. His second act began with a family milestone and became Acceleration Community of Companies.
Matt Manning and the business of belonging
From international marketing to the leadership of MKTG, Matt Manning has built a career around the distance between buying attention and earning a place in a fan’s life.
Nita Song and the advantage of knowing people
She left IW Group, hired it twice, and came back to help change its business. Nita Song’s career makes a case for cultural knowledge that survives every change of platform.
Tom Cunha and the audience before the audience
Before a film has an opening weekend, it has a conversation. Brigade co-founder Tom Cunha has built a career in the space between a story and the people who might make it their own.
Matt Upshaw and the Long Way to Owning the Place
He arrived at Serino Coyne as an assistant account executive with an engineering education and a Navy background. Nineteen years later, Matt Upshaw bought the agency - and kept the people who had helped him build his career.
Maeve Hagen and the long game of becoming CEO
Before she led Taylor, Maeve Hagen defended a college field hockey goal and joined the agency as an intern. Her route to the top has been a study in staying, learning and making room for other people.
The Office That Came Before the Company
Sakebomb rented an office before it had a business, then turned Hollywood movie sites, skate culture and a taste for mischief into a working model for the early web. Its surviving portfolio is a time capsule of what happened when a tiny studio was allowed to make the campaign part of the entertainment.
Brigade and the Question That Sold the Movie
A New York agency found its edge by treating publicity, social, creative, and media as one continuous conversation - then letting audiences finish the sentence.
The People Behind the People Everyone Knows
42West built a serious business out of an odd Hollywood truth: the people paid to attract attention are most valuable when you barely notice them. Its product is not publicity alone - it is the choreography of attention.
The $500 Handshake That Outlived the Campaign
The Syndicate began with five music promoters and a recently shuttered employer. Its most revealing idea cost $500 per band - and became a 20-year lesson in how brands earn a place in culture instead of renting one.
Newhouse Knows the Internet Still Wants Something It Can Touch
The New York agency’s best work begins with an object, a room, or a small piece of theater - then gives creators a reason to carry it far beyond the guest list.
The ACL Tear That Built a Talent Agency
Nicky Gathrite planned to make a living with his body. An injured knee sent him toward finance, social media and, eventually, an agency built on a deceptively simple bet: the right person can distribute a story better than an institution can.
The Guest List Is the Product
Two magazine editors noticed that culture was escaping the magazine. They built an agency around the part that still mattered: knowing exactly who belongs in the room.
The Movie Ends. Picture Motion Starts.
Most film marketing tries to get you into a seat. This unusual agency is paid to decide what you should do after you stand up.
The Agency That Treats Fandom Like a Moving Target
MKTG built a business around a simple problem: fans refuse to sit still. Its answer combines research, rights strategy, creative work and the stubbornly physical craft of making an experience happen on time.
Two People, One Client, and the Business of Borrowing a Crowd
MSQ Sport + Entertainment grew from two founders and one trusting golf client into a three-city agency by treating fandom as a living culture, not rented media space.
Taylor Bet the Agency on Fewer Clients
In 2004, a sports publicity shop made the least agency-like decision imaginable: serve fewer clients. Two decades later, that constraint still explains how Taylor turns pints, pets, golf tournaments and bank reports into stories people pass along.
Brian Walker Is Building the Audience Before the Credits Roll
The Picture Motion CEO has spent his career closing the distance between a powerful story and the people who can carry it into the world. His method begins early, with community, partnership, and a deceptively practical question: who needs to see this?
Steph Lund Builds Agencies Around What Fans Already Love
The New York agency executive has spent two decades turning music, sport and entertainment fandom into an operating system for growth. Her second act with a trusted leadership trio suggests the real product is not attention - it is specialist judgment.
The People Who Represent the People Hiring Famous People
Burns Entertainment has spent 56 years on the less glamorous side of fame: deciding which famous face fits, what the rights are worth, and how to keep a clever idea from becoming an expensive misunderstanding.
The Day a UFO Taught Creative Riff How Fandom Moves
A fake crash at a Los Angeles mall revealed a real law of modern marketing: build something fans will cross town to see, and the internet may carry it everywhere else.
The Ticket Is the Product. The Crowd Is the Proof.
Strike Marketing built a durable Houston agency around a deceptively hard promise: turn media spend into people who actually show up. Its advantage is less about inventing a new channel than knowing how to make every channel earn its place.
The Audience Hollywood Forgot Was Already in the Theater
LIQUID SOUL built a business by noticing the people big campaigns treated as an afterthought - then proving, ticket by ticket and click by click, that attention was an economic asset.
The Hollywood Workhorse Behind the Poster
Bravo Design built a durable business in the unglamorous space between one approved idea and the hundred finished pieces a campaign suddenly needs. Its advantage is not mystery. It is memory, speed and an unusual appetite for the last mile.
The Gift Bag That Sold Hollywood’s Attention
Lash Fary built a business by giving famous people things they could already afford. The merchandise is incidental; the scarce item in every bag is attention.
The Hollywood Publicist That Taught Brands to Behave Like Entertainment
PMK•BNC's great trick was not knowing famous people. It was knowing how to turn that access into stories audiences volunteered to spread - even after a bruising merger tested the premise on day one.
A&CO Sells the One Thing Marketing Budgets Cannot Buy: The Right Introduction
The Los Angeles agency works in the narrow corridor where culture, commerce, and causes meet - building partnerships that carry money, meaning, and the risk of getting either one wrong.
ISET Agency Built a Business Around Being the Missing Piece
The Pasadena firm sells strategy, publicity and business development in one relationship-heavy package. Its revealing advantage is not a single channel - it is the willingness to enter when a client has run out of hands, language or nerve.
MOVI Knows the Distance Between a Translation and a Connection
The Los Angeles agency built a four-city operating system for the part of marketing that translation cannot solve: knowing which voice, room and ritual will make a message travel.