Our communication goals were simple. Ericsson products were ‘essential’ to Lara Croft and our job was to create an off-screen relationship with consumers who did not, like Lara, have to save the world. We wanted to own the experience of going to the cinema to watch Tomb Raider and thereby generate positive Ericsson brand awareness. We also had to sell some phones and achieve quantifiable results for the T20e. At the heart of the Tomb Raider cinema experience was the foyer and scratch card promotion. Whilst the ad reel slot and foyer ubiquity gave impact in the form of posters, counter stands, life-size Lara Croft standees, Foyer TV ads and sponsored film magazine programmes, the scratch card provided the response mechanism - everyone who went to see Tomb Raider in CSA cinemas got a card enabling them to win prizes and money off the phone. Awareness results were excellent. We had two control groups: - non-cinema and Odeon cinemas, which had all activity except the film reel sponsorship. Of those who had been to see the film at UCG cinemas (which included foyer activity and ad reel activity) 84% recalled Ericsson’s association with the film. This compares with just 38% recall in cinemas that only had foyer activity.The campaign also had excellent sales results: - •In all of One2One’s outlets Ericsson’s share increased from an average of 5% sales to 19% during the promotion period.•In Sainsbury’s, Ericsson’s share of sales rose from its normal 15% to 50% of all mobile phone purchases in the store over the period.

•One2One’s allocation of T20e (special ‘Tomb Raider phones) exceeded all expectations. The amount of phones they ordered from Ericsson was up a massive 400% during the period.

What’s more, this is now a case study on ‘how to use cinema’. “The Ericsson activity was positively received by Odeon and UCG cinemas both in terms of innovative planning and creative execution. For CSA and the chains we represent it will serve as a benchmark case study that opened the door to an infinite number of possibilities within cinema.”(Jonathan Slot, Sponsorship and Promotions Director, Carlton Screen Advertising). Cinema was at the centre of our media strategy. If Ericsson had already identified the audience to target through product placement in the Tomb Raider movie, then all we had to do was amplify the message to people who went to the cinema. Easy; take the 30 second TVC, adapt it for cinema, buy a premiere film package and put it in front of Tomb Raider and other similar movies – that’s bound to work isn’t it?Er . . . no. What we decided to do was a bit more original than that. We wanted Ericsson to be everywhere where consumers were going to see Tomb Raider in the cinema - at the ticket desk, on the walls, when they were buying popcorn, on the foyer TV, just before the movie. Wherever they went, whatever they did, their Tomb Raider cinema experience would be powered by Ericsson. Before Ericsson/ Tomb Raider nobody had sponsored an individual movie release. We negotiated a special ad slot with CSA (Carlton Screen Advertising) to appear just before the movie to let those who went to see Tomb Raider know that it was “Powered by Ericsson” This, combined with massive in-foyer activity, helped make Tomb Raider synonymous with Ericsson.

Cinema was at the centre of our media strategy. If Ericsson had already identified the audience to target through product placement in the Tomb Raider movie, then all we had to do was amplify the message to people who went to the cinema. Easy; take the 30 second TVC, adapt it for cinema, buy a premiere film package and put it in front of Tomb Raider and other similar movies – that’s bound to work isn’t it?Er . . . no. What we decided to do was a bit more original than that. We wanted Ericsson to be everywhere where consumers were going to see Tomb Raider in the cinema - at the ticket desk, on the walls, when they were buying popcorn, on the foyer TV, just before the movie. Wherever they went, whatever they did, their Tomb Raider cinema experience would be powered by Ericsson.