Generating a Buzz
Summer 2021By Nicole Dudenhoefer ’17
From franchises such as HBO’sTrue Blood and Game ofThrones to Hulu’s The Handmaid’sTale, chances are Mike Monello ’92has played a role in promoting — orrather, expanding the experience of —one of your favorite TV shows.
As the founder and creativedirector of transmedia marketingfirm Campfire, Monello has createddozens of innovative campaigns overthe years. But the film grad’s interestin marketing was actually driven bythe success of one of his first movies,The Blair Witch Project.
In the mid-’90s, Monello workedwith five other ϲʿ film alums —Robin Cowie ’93, Gregg Hale ’95,Dan Myrick ’93, Eduardo Sánchez’94 and Ben Rock ’95 — to help createthe movie. By launching a websitewith a backstory for the film, manythought the movie was a documentaryrather than part of the promotion,causing Blair Witch to go viral beforedoing so was really a thing. Building onthat buzz, the team was able to drumup a strong fan base before the horrorflick even had a final cut.
And while Blair Witch remainsthe fifth highest-earning independentfilm of all time, having grossed around$250 million worldwide, Monellosays Hollywood wasn’t ready to investin projects that spent money online.However, marketing firms across thenation recognized the success andwanted to replicate it. So manyreached out for other projectsthat eventually Monello and Haleco-founded Campfire in 2005.
“Marketers weren’t looking fora business model, they just wantedattention, and we were gettingbudgets to basically tell storiesonline,” says Monello, who accessedthe internet for the first time atUCF. “That was so much fun andfascinating because it felt — and stillfeels — like basically every time wedid something it was the first time.”
While no two projects are alike,Monello has learned some basic principles that help get people’sattention.
Blur the Lines Between Factand Fiction
Just like with Blair Witch, Monello’swork often leaves people wonderingif what they’re experiencing isactually reality. This includes afictional pirate radio station forAmazon’s The Man in the High Castle,which takes place in an alternatepost-WWII universe where the Axispowers won. “In 2017, we created apirate radio station that broadcastfrom a neutral zone in the middle ofthe states and included original musicand characters talking about theresistance,” Monello says. “It reallyresonated at the time because a lotof people felt America was taking awrong turn, and some even thoughtit was a real, modern-day station.”
Let Viewers Participate
Monello says there is a recurringtheme that has proven to besuccessful for every project —the importance of leveragingparticipatory storytelling. Acrossmultiple seasons of Game of Thrones,Campfire created opportunities forfans to be a part of the story. “Forthe show’s first season, we createda campaign around the senses,including pop-up food trucks in NewYork with a Game of Thrones-themedmenu,” he says. “For the DVD releaseof season two, we created a site wherefans could take a communal pledge ofservice to the Night’s Watch.”
Consider All Types of Fandom
Campfire’s work centers on thinkingabout their audience in threesegments: skimmers, people whopay attention to something onlywhen it appears in their day-todaylife; dippers, those who enjoysome aspects of something, buttheir fandom is dependent onsocial rewards; and divers, hardcorefans whose interest is deep andself-motivated. “When we firstlaunched True Blood with HBO, weincorporated aspects of gameplay,a fake documentary, websites, andprint and billboard ads to create acampaign that was multifaceted andappealed to people with various levelsof attention,” he says.
Expand StorytellingOpportunities
As binge-watching and streaming athome have become more popular,Monello says series creators andproducers are realizing they needto create content that keeps thefans engaged between releases, suchas his work for the new children’sseries Ghostwriter on Apple TV+.“During the pandemic, we filmed asocially distant bonus vlog with oneof the characters to teach childrenabout storytelling and worked withfive state library systems to developprogramming,” he says.
Prioritize Physical Experiences
As we’re coming out of the pandemicand people are looking to get outmore, Monello says he sees the returnof physical marketing experiences,such as the one Campfire worked onfor Amazon’s Hunters. “Hunters hasthis ’70s grindhouse movie vibe andtakes place in New York,” Monellosays. “For six days, we took over twoblocks in Los Angeles, with actors inclothes, music and cars from the time,and altered 16 stores, a bowling alleyand movie theater to look like theywere from ’70s New York. It was anew way for people to explore a blockthey were familiar with and a fun wayto experience the vibe of the show.”
Have Your Own Sandbox
While Monello’s career has heavilyrevolved around other creators’stories, he’s recently been workingwith a team to create his ownnarrative with the horror podcastVideo Palace. After a successful firstseason, he’s worked with severalauthors to publish Video Palace: InSearch of the Eyeless Man, a collectionof short stories that expands on thepodcast. “We had been world buildingfor so many stories we didn’t developand wanted to take what we learned tocreate our own myths and stories thatlinger with people longer,” he says.