WikiLeaks
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|The Da Vinci Code |
|Focus Groups |
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|Mexico |
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|prepared for |
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|executive summary |
The main findings of the research can be summarised as follows:
Readers
i) Draws / Hopes
• Far from any nervousness as to whether the film would match their experience of the novel, many readers hoped and expected the film adaptation to be more engaging and enjoyable than their experience of the novel, hoping that it would:
o Clarify issues and events that had not been properly understood when reading the novel
o Be an authentic and true adaptation of the novel
o Bring to life the scenery, characters and tension previously only imagined when reading The Da Vinci Code.
• Readers also hoped the film would capture the atmosphere of tension and mystery which had made the novel such a gripping, page turner
• Tom Hanks also acted as an important draw, in confirming that the adaptation would be faithful and of good quality (with the assumption that Hanks would not have signed up to do anything less):
• In addition, there was also much curiosity and anticipation into how the character of Silas was to be presented
• Finally, it was believed that the film would enjoy widespread success, and prove to be a bigger phenomenon than the novel.
ii) Barriers / Fears
• The greatest perceived barrier to the film was the controversy it was bound to cause. Readers felt this would be fuelled by those who did not see the novel as fiction but as an outright attack on the truths of the church:
o It was anticipated that this would be a particular problem amongst the more close-minded, older generations of Mexicans
o Ultimately, this controversy might affect readers if a strong statement against the film was made by the church or the Pope – this would put pressure on all those with faith not to be seen to support the film.
• There were also some fears that the film may not be true to the novel, in that it might include extra ‘action’ scenes or that it might omit some of the more controversial religious references.
iii) The Poster
• Readers generally liked the poster, responding well to the iconic nature of the Mona Lisa, and feeling it signalled a high quality and global appeal for the film it promoted
• The historic status of the painting also helped to convey the history and age-old heritage of the events and theories of the novel
• The fact that Mona Lisa’s famous smile was hidden was the most eye-catching and intriguing aspect of the poster, and was felt to represent the forbidden truths and hidden secrets of The Da Vinci Code
• The main criticism of the poster was that it could mislead those with no knowledge of the book into thinking the film was about the life of Da Vinci (the artist) and his paintings
• It was also felt to only communicate one aspect of the novel (the mystery and code-breaking element) and not the religion, action or tension.
iv) Further Positionings
• When asked how they would position the film themselves, readers would use more religious metaphors, despite the controversy it might cause:
o It was felt the religious content of the film would maximise publicity
o Some explanation of the religious content of the novel might also help to address the fear of the unknown amongst non-readers
o The use of religious images would also forewarn those with no knowledge of the novel that it addressed a topic that might offend them.
o The use of high-ranking church officials would illustrate that the theories penetrated to the very core of the church
• The secret societies and sects would also feature prominently, to convey the idea that the theories were anchored in long traditions and to tap into the widespread appeal of the Holy Grail mystery
• Both readers groups would also feature the Grandfather more, as he was seen as the catalyst for all that subsequently happens in the story. Both groups would also reference the sexual ritual described in the novel
• Overall, readers would position The Da Vinci Code as a film with mystery, suspense and thriller qualities. To reflect this, the mood of marketing materials would be dark and somewhat macabre and sombre in tone
• It was felt that such a positioning would have broad appeal, although those who were educated and open-minded would get the most out of the film.
v) Prompted Positionings
• The Action / Pursuit positioning was dismissed by readers as not representative of the novel. This was because it dealt purely with action and omitted the more intriguing elements of mystery, suspense and religion:
o It also suggested a predictable action adventure movie, rather than anything weightier or deep
o It would have a male-skewed, mass market appeal.
• In contrast readers thought that the Mystery / Solving Puzzles positioning worked very well in providing a true, succinct synopsis of the novel
• The emphasis on mystery and intrigue was compelling, with the references to art and history suggesting a more cultured, thought-provoking film that would appeal to open-minded Mexicans everywhere.
Non-Readers
i) Prior Awareness of The Novel
• Amongst non-readers, awareness of The Da Vinci Code was dominated by reference to its controversial religious claims, which were discussed with apprehension. Non-readers had primarily heard:
o The Da Vinci Code was about corruption in the church; a dangerous area that many did not want to think about
o On a related theme, it exposed hidden secrets within the church that it was best not to know about
o It would be as controversial as El Crimen Del Padre Amaro
o The theories had been born out of a feud between the church and members of secular society
o Or, Da Vinci had invented the theories, hidden in his work, as part of a personal vendetta against members of the church during his time
o It personally attacked Jesus, spuriously claiming that he had a wife
o The novel actively made you question your faith and would leave you with no beliefs
o The church had spoken out against the novel, with some believing the Pope had threatened to ex-communicate anyone who read it.
• The oldest group of 40-54 year old non-readers were particularly vehement against the novel, describing it as “the devil’s work”, “aggressive”, “malevolent” and “distressing”
• Some non-readers were more philosophical, describing how the novel presented a different viewpoint that could be believed or dismissed
• All non-readers agreed that this controversy made the book and the film of interest to all, and whether you believed the theories or not you would need to see it to have an opinion on it.
ii) Draws / hopes
• Having expected a dark, serious and sombre film in the mould of The Passion of the Christ, many non-readers were surprised and excited by the suggestion of a suspense / thriller movie gleaned from the trailer:
o Sauniere was particularly important in arousing curiosity and suggestions of suspense: why was he running? What was the cause of his distress? Had he killed himself or been murdered?
• The action element also surprised and delighted many, with the scenes of pursuit, the fast-moving tempo of the trailer and the music integral in suggesting action
• The visual impact of the art, locations and scenery also hooked in non-readers, setting the scene for a story deeply embedded in culture and history
• With many intending to see the film instead of having to read the book, it was important that the adaptation be authentic and true to its original source
• The presence of Tom Hanks was especially important for non-readers as a clear indicator of a popular, high quality movie.
iii) Barriers / Fears
• Most of the fears and concerns amongst non-readers stemmed from the religious controversy they had heard about the book, with the trailer serving more to dispel, rather than add barriers:
o However, all non-reader groups felt that, at first, the trailer reminded them of The Exorcist, thereby temporarily reinforcing their fears of a dark and frightening film
o All groups wanted to know more about the cast and the characters than had been revealed in the trailer, confirming the importance of Hanks and the rest of the cast to those who have not read The Da Vinci Code.
iv) The Poster
• Amongst non-readers, the poster focussed their minds on the code-breaking element of the story: an area that had not previously been discussed in relation to the trailer or their exiting knowledge of the novel:
o Both the lines of code in the background of the poster and Mona Lisa’s hidden smile were powerful in evoking intrigue and the suggestion of hidden secrets and codes that needed to be deciphered.
• However, non-readers wanted more information than was provided in the poster, especially concerning the cast, with many surprised that such a big name as Tom Hanks was not mentioned
• There were also some who had not noticed the hidden smile or the code – and they were left feeling that too much analysis was needed in order to fully understand the poster
• The poster also left some non-readers confused over the role of Mona Lisa in the story, given she was the only element in the poster but had not featured at all in the trailer.
v) Further Positionings
• As with readers, non-readers had expected there to be more religious metaphors and symbolism in the marketing material for The Da Vinci Code:
o More religious imagery would also warn those with no knowledge of the book that religious issues were addressed that they might find offensive
o Ironically, the controversy caused by religious references would ensure maximum publicity for the film.
o They also felt that the presence of a high-ranking church official was needed to communicate the importance of the religious messages
• Illustrating some confusion as to the content of the story, many felt Da Vinci himself should feature in marketing materials, or that there should at least be more references to his paintings
• Non-readers also described how they would place more emphasis on the highly anticipated code-breaking aspect of the story
• They would also reference the success of the novel, to suggest a popular film with widespread appeal
• In describing the mood and tone of this positioning, non-readers moved away from the dark, sombre expectations they had, based on knowledge of the novel, and focussed more on intrigue and suspense
• As with readers, non-readers felt the film would have a wide appeal but that educated, open-minded Mexicans would be the most ready to see it and would get the most out of it.
vi) Prompted Positionings
• As with the readers, non-readers dismissed the Action / Pursuit positioning as not matching their expectations of the novel and therefore potentially misleading:
o This was because it omitted the important mystery / suspense elements and made no mention of the religious content they knew to exist:
o It would appeal to the masses, especially the young and fans of action films.
• Again, the Mystery / Solving Puzzles positioning was preferred:
o It was felt to more truly reflect what had been heard about the book and emphasised the most appealing elements: the mystery, code-breaking, suspense and the culture / art
o It was also felt to have given forewarning of the religious content and would have broad appeal.
Overall Conclusions
• The Da Vinci Code is likely to create a good deal of controversy upon its release in Mexico, especially amongst the older generations, some of whom are likely to be beyond the reach of any attempts to change their opinions, such is their conviction that the film is an outright attack on the church and therefore their faith
• Both readers and non-readers, whilst expecting this controversy, are convinced that it will only add to a huge interest in the film, and will motivate many to go to see it in order to find out what all the fuss it about, and allow themselves to have an informed opinion on the subject
• Currently, the most controversial point for non-readers is that familiarity with the themes and issues will have a profound effect upon them and make them question their faith. This fear marks them aside from readers, who approached the novel as a means of exploring an issue without assuming it be true and therefore shake their belief systems:
o For this reason, a ‘see what you think’ approach may work well in Mexico, rather than any overt claims that the film presents an out-and-out truth, which many will not want to risk hearing about.
• Any adverse effects of the controversy, amongst both readers and non-readers could be alleviated if there is no public statement against the film by the church, or if any confusion around declarations made by the Pope can be nullified
• Discussion of the controversy of The Da Vinci Code is very likely to be referenced against El Crimen Del Padre Amaro, with this latter film seen as ground-breaking in terms of presenting controversial, anti-Catholic sentiment.
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|Both groups felt the film adaptation of The Da Vinci Code would have elements of a suspense, a mystery and a thriller. Whilst the inclusion |
|of the religious element was also essential and would inevitably dominate discussion, it was the code-breaking aspect that really captured |
|interest and anything that could be done to maintain the focus on this rather than the religious claims is likely to work well. Action per |
|se, would not position the film as anything particularly different or compelling. |
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|The cast, especially Tom Hanks, will be extremely important to the appeal of the film in Mexico. For both groups, Hanks signals a |
|blockbuster film, with the actor also highly esteemed and respected, so much so that it is generally assumed that he would not have signed |
|up to anything less than a faithful, authentic and high quality adaptation of The Da Vinci Code. In addition, readers are particularly |
|curious as to the film’s representation of Silas and non-readers were intrigued by what happened to Sauniere in the trailer. |
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|The scenery, art and settings (particularly La Louvre) were also key elements in generating interest. Amongst readers they represented the |
|better visualisation of what had previously only been imagined. Amongst non-readers they added a sense of culture and history to the events |
|of the novel. |
|recruitment and sample details |
|Recruitment Method |Face to face street recruit |
|Group Composition |Group 1: Readers of The Da Vinci Code, aged 21 to 34 |
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| |Group 2: Readers of The Da Vinci Code, aged 35 to 54 |
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| |Group 3: Non-readers of The Da Vinci Code, aged 21 to 29 |
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| |Group 4: Non-readers of The Da Vinci Code, aged 30 to 39 |
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| |Group 5: Non-readers of The Da Vinci Code, aged 40 to 54 |
|Respondent Eligibility |No direct contact with the film industry and/or the field of journalism |
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| |All to be regular cinemagoers (once every 2 months on average) |
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| |Readers: to have read The Da Vinci Code (no specified time period) |
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| |Non-readers: to have heard of but not read The Da Vinci Code |
|event details |
|Location |Shakespeare 84, Colonia Anzures, Mexico City, Mexico |
|Date |8th and 9th November, 2005 |
|Stimulus |1 X Grand Gallery Teaser Trailer Int’l Vers. 6 |
| |2 X Positioning boards |
| |1 X Teaser poster: |
| |[pic] |
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|Methodology |Following a brief discussion on awareness of upcoming films, respondents were shown the teaser |
| |trailer and asked their level of interest in seeing The Da Vinci Code in the cinema. A full |
| |discussion was then undertaken to disclose the relative ‘baits’ and ‘barriers’ to seeing the film. |
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| |Respondents were then shown one of the teaser posters for The Da Vinci Code, which was assessed on |
| |its own, and then compared to the trailer. |
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| |The last part of the group focused on future positionings for the marketing of the film, both |
| |spontaneous and prompted. |
|readers |
|interest in the trailer |
Before any discussion or the subject of the group was revealed, all group members were shown the trailer for The Da Vinci Code, as a launch-pad for discussion. Immediately after seeing this trailer, interest in seeing the film was captured:
| | |21-34 | |35-54 |
| | |year olds | |year olds |
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|Definitely Interested | |9 votes | |10 votes |
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|Probably Interested | |1 vote | |- |
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|Neither / nor | |- | |- |
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|Probably not interested | |- | |- |
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|Definitely not interested | |- | |- |
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|draws / hopes |
As can be seen above, the combination of prior knowledge of the book and the impact of the trailer generated widespread definite interest in seeing the film and a strong sense of anticipation:
|“I am watching this trailer now in November and I can’t wait for May, I am getting more interested, I can’t |
|wait to see it.” |
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|Reader |AGED 35-54 | |
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The key draws to the movie are outlined below.
i) A Clearer Understanding
Members of both groups wanted to see the film in order to gain a clearer understanding of the theories outlined in the book. This suggests that there could be some residual confusion and uncertainty around the issues amongst readers in Mexico:
|“There were things in the book that I didn’t understand very well – it was very complex and confusing. I |
|think that in watching the movie, what I read will be clearer.” |
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|Reader |AGED 21-34 | |
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It was hoped that a clearer understanding would, in turn, enhance involvement with the story and the subject matter:
|“Always, when you read the book and then you watch the movie, it is easier to understand things, and get even|
|more involved.” |
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|Reader |AGED 35-54 | |
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|“I’ve read it, but to see the images it is more intense. I was relaxed when I was reading it, but hearing the|
|music and that it just doesn’t compare – it is much more intense.” |
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|Reader |AGED 21-34 | |
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This would suggest that the search for clarity and reassurance that they have properly understood the issues, will be a key reason for readers to see the film in Mexico. Also, rather than being concerned that the film will not meet their expectations, there is an assumption amongst many that it will provide a more enhanced and engaging experience than the novel.
ii) A True Adaptation
Also of primary importance, readers were hoping for a film that would be very true to the novel, with the trailer helping to reinforce this expectation:
|“It is a very true adaptation because it has suspense, mystery, death – I was imagining it to be very |
|similar.” |
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|Reader |AGED 21-34 | |
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|“I think it is very realistic because everything I saw took me back to what I read.” |
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|Reader |AGED 35-54 | |
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For others, they were more open-minded as to whether or not the film would stay completely faithful to the novel. In this case, they would be drawn to the movie to find out where any differences had occurred.
iii) Bringing The Book To Life: The Scenery
On a related note, both groups were also keen to see how the movie would bring to life the locations and scenery they had imagined when reading the novel. Having seen the trailer, they were particularly impressed with the representation of La Louvre:
|“What I saw in the trailer seems to be the original places that are quoted in the book, such as La Louvre, |
|Paris, the environment, the locations. You are immediately located in France, and it is like tasting the book|
|again in a deeper way.” |
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|Reader |AGED 35-54 | |
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It was felt the locations would also give a sense of realism to what had previously only been imagined, and would assist in anchoring the story in the present day:
|“They are in the Louvre museum and a castle that is owned by someone in the book – everywhere is made real, |
|they must be there, so they too are real.” |
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|Reader |AGED 21-34 | |
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Finally, the locations would also serve to represent the history prevalent in the novel, with old buildings and artefacts helping to convey the age-old heritage of the secret societies and the Holy Grail legend.
iv) The Mystery / Suspense
For many, the novel had been a gripping, page-turning read, full of mystery and suspense. It was hoped that the movie would also recreate this atmosphere of tension. Indeed, many felt the trailer had perfectly encapsulated it:
|“It seems like the whole movie will take place at night, the darkness and the cities, the churches and |
|museums, they all create mystery |
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|Reader |AGED 21-34 | |
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|“The ambience and sound make you get caught up in the movie.” |
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|Reader |AGED 21-34 | |
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|“The soundtrack gives that feeling of suspense, of a thriller; you feel ‘oh my god, my hair is standing on |
|end!’” |
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|Reader |AGED 35-54 | |
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v) The Cast
Many readers had heard that Tom Hanks was to star in the film, and this proved to be an important, extra draw in addition to the content of the novel:
|“I am a fan of Tom Hanks, I love him, so since I now know it’s him, I have to see it.” |
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|Reader |AGED 21-34 | |
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Indeed, the casting of Hanks was an important quality credential for readers, and signified that the movie would be a faithful interpretation of the novel (with the assumption that he would not have signed up for anything less).
At lower levels, Sir Ian McKellen’s role as Sir Leigh Teabing excited the interest of some readers:
|“I already knew that Tom Hanks was acting in it, and in the book there is an English man and I was hoping |
|that Gandalf from Lord of the Rings would play him.” |
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|Reader |AGED 21-34 | |
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Whilst Paul Bettany was not mentioned specifically, there was great curiosity amongst readers about the character of Silas (also referred to as “the albino”), with many wondering what he would look like and how this central character would be presented.
vi) Success
Given the success of the book, it was also widely expected that the film would be a huge box office success – even bigger than the novel. It was also hoped that the film would enjoy widespread word of mouth and become an en vogue talking point:
|“I feel this type of movie turns into a fashion and everybody will be speaking about it - it's not |
|necessarily the intellectuals but any type of person will see it.” |
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|Reader |AGED 21-34 | |
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It was anticipated that the film’s appeal would not only traverse those who had read or heard positive things about the novel – but even those critical of the theories would still go and see the film to fuel their condemnations:
|“Many people will go just to criticise it – I mean, everyone is going to see it, whether they speak good or |
|bad about it, they will go simply to know what happens in the movie.” |
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|Reader |AGED 35-54 | |
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Still on the subject of potential controversy, the younger group of readers hoped that the film might succeed in using this controversy to bring a difficult topic out into the open, and encourage wider questioning of established facts:
|“More people are going to get interested in researching if it really happened or not – a story like this can |
|uncover our eyes.” |
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|Reader |AGED 21-34 | |
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However, it was widely believed that, to fully appreciate the film, a certain degree of education and open-mindedness were essential:
|“I think it will appeal to young people who are interested in literature and are critical of the times we are|
|living in, and have diversity of opinion.” |
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|Reader |AGED 21-34 | |
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|barriers / fears |
Having ascertained their hopes for the film adaptation, readers were also asked to voice any concerns they might have.
i) Controversy
It was widely agreed that the film version of The Da Vinci Code would cause controversy in Mexico – just as the book had done:
|“I believe it is going to be very controversial because I know many people who did not want to read the book |
|because they knew it was attacking the church.” |
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|Reader |AGED 21-34 | |
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As suggested above, the main reason why the subject matter would prove so controversial was that many would not see the work as fiction but as an outright attack on the truths of the church. Even amongst this group of readers, there was palpable nervousness about being seen to go against the teachings of the church, or supporting a work that was seen to criticise their faith.
Readers felt this would be a particular problem amongst the older generation, who would be more closed-minded to new ideas and less able to see beyond the religious overtones of the story. There was also some concern that peer pressure amongst these older generations could prevent a wider viewing of the film:
|“My Mom is 60, and she is closed in the religious aspect – a woman of that age could read the book and no one|
|would realise but to go and see the movie could seem bad within her circle of friends.” |
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|Reader |AGED 21-34 | |
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Many readers referenced the film El Crimen Del Padre Amaro, which had caused a similar level of controversy in Mexico. It was feared The Da Vinci Code could prove as, if not more, controversial:
|“It will cause more controversy than El Crimen del padre Amaro’. If people got scared with Padre Amaro, this |
|is going to be very controversial.” |
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|Reader |AGED 35-54 | |
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At the heart of this fear, readers were concerned that there might be some kind of strong public statement against the movie from the Pope or the church. This would then put pressure on all those with faith not to support the movie.
ii) The Truth of the Adaptation
Just as a true adaptation was one of the key hopes for the film, that it might not be faithful to the novel was one of the greatest fears. Reassuringly, the trailer left the majority with the feeling that the film would be a very authentic adaptation. However, one scene, involving a character falling down a well, was not remembered from the novel and therefore raised a few doubts:
|“I don’t like things that are invented, that are not in the book – like the well thing, nobody falls down a |
|well [in the novel].” |
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|Reader |AGED 21-34 | |
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Despite concerns about potential controversy, many readers feared that some religious referencing would be taken out of the film to tone it down – especially references to the central mystery of the relationship between Christ and Mary Magdalene:
|“Although we did see The Last Supper, there should be a close up of Christ and Mary Magdalene as that is at |
|the centre of the book.” |
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|Reader |AGED 35-54 | |
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|“I would like them to show Christ in the images, Christ on the cross or something, or in his church.” |
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|Reader |AGED 21-34 | |
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The absence of this more emotive religious imagery would not only signify a poor or comprised adaptation but would also be seen as a betrayal of the core purpose of the novel.
|interest in the poster |
Having discussed their hopes and fears for the film in response to the trailer, group members were then shown the Teaser poster, to fuel discussion further. Once again, levels of interest in seeing the movie were captured after exposure to the poster:
| | |21-34 | |35-54 |
| | |year olds | |year olds |
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|Definitely Interested | |4 votes | |7 votes |
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|Probably Interested | |- | |2 votes |
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|Neither / nor | |5 votes | |- |
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|Probably not interested | |- | |1 vote |
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|Definitely not interested | |1 vote | |- |
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As illustrated by the scores above, and perhaps to be expected given its more static nature, the poster alone was not felt to be as persuasive as the trailer.
i) Draws
The key draw from the poster was the iconic nature of the image of Mona Lisa, in that it was instantly recognisable and highly esteemed:
|“I have always liked the painting, one of my favourite painters is Leonardo Da Vinci, I have books about him |
|– I love his work.” |
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|Reader |AGED 21-34 | |
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This worked as a quality credential for the film adaptation and the novel, placing them on the same stage as a well respected image with global appeal:
|“I like that it is a work of art that has relevancy on a global scale and has an incalculable value.” |
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|Reader |AGED 21-34 | |
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The painting also fuelled further discussion into the historical context of the story, in that the themes were based on events in Jesus’ time, and theories that had existed since the time of Da Vinci:
|“You see that it is a painting, it seems to be from a long time ago and that attracts my attention – it is |
|going to be a good movie.” |
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|Reader |AGED 21-34 | |
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Most readers picked up on the fact that Mona Lisa’s smile was hidden. This in turn strongly reflected the hidden secrets and forbidden knowledge within the novel. In addition it brought to mind the generations of secret societies (such as Opus Dei) charged to protect this information at any cost:
|“I am attracted because Mona Lisa has her mouth covered, as if she had many things to say but can’t say them.|
|Mona Lisa’s smile is the most important thing about her, and if her smile is covered, there’s a mystery that |
|you must know.” |
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|Reader |AGED 35-54 | |
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|“It has many symbols behind it, that mysterious smile is covered, and it’s like she wants to say something, |
|she has many secrets that must be revealed.” |
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|Reader |AGED 21-34 | |
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The streams of code in the background of the poster, whilst not as prominent as this hidden smile, also served to remind readers of the secrets within the book, and the challenge of cracking the code and deciphering the mystery.
ii) Barriers
The main criticism of the poster was that it could potentially mislead those without knowledge of the book. This was mainly because it would suggest that the film was about Da Vinci himself, or his paintings. It was also suggested that the poster might be interpreted as an advert for a documentary style programme which would debate Da Vinci and his paintings:
|“I would imagine it is a program on the Discovery Channel about something scientific.” |
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|Reader |AGED 21-34 | |
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Another key concern was that the poster only portrayed one aspect of the novel (the code-breaking element) and did not put across either the religious content nor the inherent tension or suspense behind deciphering the clues:
|“It is true that the book is about mystery, and some of that is represented here – but there is action too |
|and that has been completely done away with.” |
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|Reader |AGED 21-34 | |
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|further positionings |
Having discussed ideas evoked by the trailer and the poster, group members were then given free reign to suggest how they would position the film, bringing to the fore the elements they felt were of key importance.
i) Key Elements
Religious Metaphors
Despite fears of the controversy it might cause, both groups of readers would emphasise the religious metaphors within the novel, to create maximum publicity for the film and ensure that the adaptation did not shy away from the potentially controversial ideas at the core of the novel.
It was also reasoned that clear representation of the religious content was necessary to forewarn those who might be offended, so they could then avoid the film.
When asked exactly what religious elements should be included in the marketing campaign, the relationship between Jesus and Mary Magdalene was suggested, but was acknowledged as potentially too problematic and too explosive to be presented without wider explanation.
Instead, both groups suggested including images of high-ranking church officials, such as the Pope or Bishop Aringarosa, as this would signify that the religious subject matter concerned those at the very centre of the Catholic Church:
|“Everything in the novel is related to the Vatican, the Pope, and the power of the church.” |
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|Reader |AGED 21-34 | |
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Finally, it was felt that providing (and explaining) more of the religious metaphors could help dispel some of the fear of the unknown:
|“We are always afraid of what we don’t know and it worries people, so it’s necessary to show the reason |
|behind things, so we can ask about what we don’t understand.” |
| | | |
|Reader |AGED 21-34 | |
| | | | |
The Sects
To convey the sense of history behind the story, group members felt it would be worth explaining some of the traditions and beliefs of the Masonic and Opus Dei sects when promoting the film. In doing so, this would give good background information for non-readers and explain that the theories were grounded in long-established traditions, rather than being a purely modern, cynical invention.
This could be achieved either through portraying Silas self-harming (to illustrate the extreme devotion of Opus Dei) or through tapping into the wide-reaching appeal of the Holy Grail mystery:
|“The Holy Grail would be the most important point for all marketing, because it is the mystery of ancient |
|times. All cultures have always been very interested in it.” |
| | | |
|Reader |AGED 35-54 | |
| | | | |
Grandfather
The younger group of readers would also play up the character of Sauniere when promoting the film adaptation. It was felt that, through the deathbed clues he leaves in the museum, this character was pivotal in setting up the whole mystery, and launching Langdon and Sophie on their path:
|“From the beginning, when you open the book, it is telling you about Mr. Sauniere, why he paints himself and |
|the floor around him and writes the numbers.” |
| | | |
|Reader |AGED 21-34 | |
| | | | |
Older readers told how, as the person who inherits the clues, they would also focus more on Sophie.
Both groups suggested showing the Grandfather’s sexual ritual described by Sophie in the novel – seeming to confirm the idea that sex sells!:
|“When Sophie tells about the Grandfather, you could show images like those from Eyes Wide Shut, where |
|everyone wears a mask and they are all naked and belong to a sect.” |
| | | |
|Reader |AGED 21-34 | |
| | | | |
ii) Mood / Tone
To further understand how they would position the film, readers were asked to describe its genre. In response, both groups felt The Da Vinci Code would encompass elements of a mystery, a suspense and a thriller.
It was felt that a dark colour scheme could be employed to best represent this perceived positioning, with the following adjectives used to further describe the feel of marketing materials:
| | | | | | | | |
| | | | | | | | |
| |Dark | |Dismay | |Ingenious | |Complicated |
| | | | | | | | |
| |Gregorian | |Mysterious | |Esoteric | |Mournful |
| |Chants | | | | | | |
| | | | | | | | |
| |Hidden | |Impactful | |Sepia tones | |Deep |
Of note is the focus on dark and somewhat macabre descriptors, representing the impression of a subdued and melancholy tone.
iii) Target
The perceived target for the film was broad, and likened to Harry Potter:
|“It is like Harry Potter’s movies, even the young people who have not read the book; they watch the movie and|
|are impressed with it.” |
| | | |
|Reader |AGED 35-54 | |
| | | | |
However, this was qualified with the need for viewers to have some education and open-mindedness to fully understand and appreciate the film.
|prompted positionings |
A: Action / Pursuit
| |
|This would position the movie primarily as an action thriller in which Langdon and Neveu must outrun Silas, Fache and the French police in |
|order to prove their innocence and find the real killer of Jacque Sauniere, the curator of the Louvre. |
| |
|Robert Langdon, a professor of symbolism, is falsely believed to have murdered the curator of the Louvre. Sophie Neveu, a cryptologist and |
|granddaughter to the curator, teams up with Langdon to find the true killer. In a breathless race through Paris, London, and beyond, Langdon|
|and Neveu match wits with a faceless powerbroker who seems to anticipate their every move. |
| |
|Langdon and Neveu are pursued not only by the French police but also by a mysterious monk named Silas who kills anyone who gets in his way. |
This positioning was dismissed by readers as purely action and therefore unrepresentative of the depth and themes of The Da Vinci Code.
|positives |negatives |
| | | |
| | | |
| | |
|The younger group liked the detail given about the characters |The overriding feeling amongst readers was that this positioning was |
| |not true to the book |
|The older group enjoyed the descriptions of the chases and the action:| |
| |Namely this was because it just described the action, and contained |
|“the pursuit is all over Paris, which is exciting” |nothing about the mystery or symbolism: |
| | |
| |“this is just an action movie, there is nothing said about the symbols|
| |or depth of the book” |
|It was felt this positioning would have mass-market appeal, as it did | |
|not hint at any controversy |“it distorts the reality of the book” |
| | |
|It was also expected that the police-chase images evoked would appeal | |
|to males. | |
| |Of the characters, Silas was described as a “Rambo-like figure” |
| | |
| |It gave the impression of a typical, formulaic action adventure movie,|
| |rather than something deeper: |
| | |
| |“it’s the typical action movie, where the hero is running with the |
| |girl” |
| | |
| | |
| | |
| |The description was also negatively described as a police movie, in |
| |the mould of Agatha Christie. |
B: Unravelling the Mystery / Solving Puzzles
| |
|This storyline would position the movie as an entertaining mystery in which Langdon, Neveu and Sir Leigh Teabing follow a series of puzzling|
|clues as they try to unravel the secrets behind a series of murders and ancient mysteries. |
| |
|Shortly before he dies from gunshot wounds from an unknown assailant the curator of the Louvre leaves a series of puzzling clues. Robert |
|Langdon, a professor of symbolism, and Sophie Neveu, a cryptologist and granddaughter of the curator, are brought to the scene to make sense|
|of the clues. |
| |
|Langdon and Neveu must solve a number of puzzles, riddles and codes involving classic pieces of art, ancient history and dangerous secrets. |
|Each clue leads to another and yet another as the fascinating and startling picture of what lead to the curator’s murder slowly emerges. |
This positioning was well liked for succinctly yet accurately summing up the key themes and content of the novel.
|positives |negatives |
| | | |
| | | |
| | |
|The synopsis focussed on mystery, intrigue and solving clues – the |One concern was that the positioning might give too much away about |
|most appealing and less controversial aspects of the novel |Sophie and her grandfather. |
| | |
|It was felt to accurately summarise the book: | |
| | |
|“this is about mystery and the book tries to reveal that – it’s | |
|approached directly and we get the essence of the book” | |
| | |
| | |
| | |
|This positioning was praised for being succinct but complete: | |
| | |
|“it is very compact but gives you a wide vision of what will happen | |
|on-screen” | |
| | |
| | |
| | |
|Mentions of the museum suggested history and culture | |
| | |
|It also made the film seem intelligent and thought-provoking: | |
| | |
|“It is for people who go to see the movie not just to amuse themselves| |
|but to be intelligent and work out the code” | |
| | |
| | |
| | |
|It would appeal to open-minded Mexicans everywhere. | |
|non-readers |
|prior awareness |
Amongst these non-readers, prior awareness of the novel was dominated by discussion as to its religious content. For most, what they had heard was controversial in nature, with the full range of sentiment outlined below.
i) Religious Controversy
• It was believed that the book was about corruption in the church. Whilst for some this suggested a truth that needed to be revealed, for many it signified danger, and an area they would rather not be drawn into considering. Most described financial corruption to do with the way the church was run, but some also mentioned recent press stories of sexual corruption within the ranks of the church. Again, all groups referenced El Crimen Del Padre Amaro as a similarly controversial film, with a similar agenda and topic:
|“It claims there’s a mafia in the church, that’s the name given to all the controversies which go on.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
• Related to the topic of corruption within the church, non-readers believed that at the heart of the novel was a feud between the church and members of secular society
• Many non-readers knew that one of the more controversial claims of the book was that that Jesus had a wife or a love affair with Mary Magdalene. This more direct and personal claim about the life of Jesus was one of the more unpalatable theories discussed and was discarded as completely untrue by many group members:
|“It is a code that was found in Leonardo Da Vinci’s paintings, which speaks about the supposed wife of Jesus |
|Christ, the three Marias.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
• One of the most pressing fears surrounding the novel was that it would have an active effect on anyone who read it, and would make you question your faith and all that you believed in:
|“I know many people who started reading the book but stopped because they are Catholic and they don’t want to|
|change their ideas. A book can make you change your mind so I am very apprehensive.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
|“It is going to shake you and give you a different point of view. You are going to question many things.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
• Related to the fear of being personally changed by experience of the book, there was also the belief that the novel exposed hidden secrets of the church that were not meant to be revealed and it was better not to know about
• For this reason, most non-readers had heard that the church had spoken out against the novel. In both older groups, non-readers had heard that the Pope had threatened to excommunicate anyone who read it. This perception of top-level condemnation, direct from the church, had proved a powerful incentive not to read the book
• For some, The Da Vinci Code was based on Da Vinci’s personal animosity for the church. They believed that he had invented a theory and hidden it in his paintings to settle a personal vendetta against members of the church in his time.
ii) Other Elements
Whilst the above points outline the general consensus of group members, some non-readers did take a more philosophical viewpoint, arguing that the novel was not meant to be taken literally as fact, but only aimed to present an alternative viewpoint that could be taken or left:
|“I do not believe that it gives you an absolute truth, it leaves you some doubts to decide if it is true or |
|not – it doesn’t say do not believe in Christ, it sets you to think there could be another truth around |
|that.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
There was also agreement that the very nature of the controversy surrounding the book only served to heighten interest, and even those who would publicly condemn it would privately want to read the novel or see the film:
|“The prohibited topics about Christ and all that is behind it - be they true or false, they attract my |
|attention.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
Indeed, it was felt that even those most firmly against the claims made would need to have talked about the novel and would need to see the film in order to have an opinion on the subject.
The Reaction of 40-54 year olds
Whilst all groups expressed concerns about how the novel attacked the church, the reaction of the oldest 40-54 year old group was far more extreme. Here, four group members spoke defensively and passionately against the novel, and the following verbatim comments provide a flavour of their feelings on the subject:
|“I have heard of the book but I have no interest in reading it because I know it talks about the secrets of |
|the Vatican.” |
| | | |
|Non-Reader |AGED 40-54 | |
| | | | |
|“They say the painting is going to reveal something but if that is related to Christ and religion then it |
|seems something malevolent. You should not mix Christ with these things – it is prohibited.” |
| | | |
|Non-Reader |AGED 40-54 | |
| | | | |
|“I am scared about everything that is related to the devil, these movies are not for me, they distress me, |
|and make me feel bad.” |
| | | |
|Non-Reader |AGED 40-54 | |
| | | | |
|“I absolutely repudiate mixing Christ with this type of thing – it is aggressive against people who believe |
|in something divine, superior. I believe it is an attack against Christ’s image, his entity.” |
| | | |
|Non-Reader |AGED 40-54 | |
| | | | |
This extreme reaction demonstrates how, amongst older Mexican non-readers, Sony Pictures are likely to encounter people whose views are so strong; they are beyond the reach of any marketing materials.
|interest in the trailer |
Again, the trailer was shown as a launch pad for discussion about the film adaptation of The Da Vinci Code, with interest in seeing the film captured as a start-point:
| | |21-29 | |30-39 | |40-54 |
| | |year olds | |year olds | |year olds |
| | | | | | | |
|Definitely Interested | |7 votes | |4 votes | |1 vote |
|Probably Interested | |2 votes | |5 votes | |4 votes |
|Neither / nor | |- | |- | |- |
|Probably not interested | |- | |- | |2 votes |
|Definitely not interested | |- | |- | |1 vote |
|draws / hopes |
As outlined previously, religious controversy dominated expectations as to the content and style of The Da Vinci Code. Against this backdrop, the trailer served to surprise and excite many, presenting elements of the story not previously anticipated:
• Many had expected a dark, sombre, religious movie akin to The Passion of the Christ, therefore there was much excitement at the suggestion of a suspense / thriller movie from the trailer:
|“I love movies that have suspense – the whole trailer is full of suspense.” |
| | | |
|Non-Reader |AGED 20-29 | |
| | | | |
Indeed, the trailer threw up a whole series of questions which aroused the curiosity of non-readers. Most notably, these focused on Sauniere – why was he running? Had he been murdered / killed himself? What was the Pentecost about? (However, it should be noted that the Pentecost was a more inflammatory image amongst the oldest group, where it was interpreted as proof of “witchcraft”):
|“The bearded man who is running, it seems he is very oppressed, very distressed and you want to find out what|
|is happening to him.” |
| | | |
|Non-Reader |AGED 20-29 | |
| | | | |
|“I liked all the elements that appeared – the box (what’s inside it?) the faces, the art – it is 100% |
|suspense and that attracts me because I love thriller movies, more than scary movies.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
• As well as suspense, the trailer suggested an action element to the film, which also had not been anticipated by non-readers. Whilst the chasing sequences were integral to this suggestion of action, it was also aided by the fast paced tempo of the trailer and its music:
|“It’s a thriller isn’t it? It goes from calm up to intense. You want to know what has caused things to happen|
|– this is very exciting.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
• The visual impact of the art, the scenery and the paintings also aroused the interest of non-readers – even the hyper-critical oldest group described how the scenery and paintings were “beautifully” shot
• Despite not having read the novel themselves, it was hoped and believed that the film would be a true adaptation of the book. This was particularly important for those who saw the film as a way of finding out about the issues without having to read the novel. They wanted to be sure they would receive the same information as if they had read the book itself:
|“It has to be good to please all those who have read the book. The same happened with Harry Potter, you have |
|a high expectation of the book that the movie needs to overcome.” |
| | | |
|Non-Reader |AGED 20-29 | |
| | | | |
• All non-reader groups mentioned Tom Hanks’ presence in the trailer as an important quality credential, both in terms of confirming that the film would be good but also in signifying it would be true to the source material:
|“Whenever Tom Hanks is in a movie it is guaranteed to be good.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
Within the oldest group of 40-54 year olds, discussion of the trailer had been completely over-shadowed by the severe anti-novel reaction amongst half of the group. Therefore, at the end of the session, those had had expressed interest in the film were separated and asked what had inspired this interest from the trailer:
• This group described how the trailer presented a film that was going to be extremely popular and talked about. This, in turn, motivated them to see the film so they would at least have an informed opinion about it:
|“You need to see the world that surrounds you and if you are not updated, you are not fashionable.” |
| | | |
|Non-Reader |AGED 40-54 | |
| | | | |
• They also felt the trailer successfully veiled the controversial subject matter, to present a movie more about suspense and intrigue than religion:
|“It does not give the impression of anything diabolical – there’s a mystery, a murder nobody would imagine |
|that it is a movie that goes against the church.” |
| | | |
|Non-Reader |AGED 40-54 | |
| | | | |
|barriers / fears |
Having discussed at length their fears concerning the religious controversy around the book, only a few different elements were added as a direct result of the trailer:
• Both groups had thought the trailer was for The Exorcist at first, which had temporarily confirmed their fears of a sinister and frightening film:
|“At the beginning I thought it was talking about The Exorcist and I was scared – the way the priest appeared |
|and due to the suspense and the music.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
• There were some concerns in one group that the chase scenes gave the impression of a typical, American action movie rather than a more thought-provoking, intellectual thriller
• All groups wanted to know more about the cast and characters than had been revealed in the trailer:
|“The names that appear at the end are very well known, but their role in the movie is not clear.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
|interest in the poster |
Having discussed their hopes and fears for the film in response to the trailer, non-readers were then shown the Teaser poster, to fuel discussion further. Once again, levels of interest in seeing the movie were captured after exposure to the poster:
| | |21-29 | |30-39 | |40-54 |
| | |year olds | |year olds | |year olds |
| | | | | | | |
|Definitely Interested | |4 votes | |4 votes | |4 votes |
|Probably Interested | |- | | | | |
|Neither / nor | |5 votes | |- | |- |
|Probably not interested | |- | |- | |- |
|Definitely not interested | |1 vote | |- | |- |
i) Draws
For non-readers, the poster worked most effectively in focussing their minds on the code-breaking element of the novel, an area which had not been discussed in response to either the trailer or their pre-existing knowledge of the novel.
As illustrated below, the lines of code in the background of the poster were particularly important in suggesting intrigue and a puzzle that needed to be worked through:
|“In the rear part of the painting it looks like there is a code. That attracts me and calls my attention.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
|“It reminds me of a labyrinth and you do not know what can be there. You can come in at one place and go out |
|at another.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
In addition (and mirroring the views of readers), the fact that the Mona Lisa’s smile was hidden further fuelled the sense of intrigue and mystery around the film, bringing to mind hidden secrets and untold truths:
|“We are used to seeing Mona Lisa’s smile and her mouth being covered means to me that there is something |
|hidden that she doesn’t want us to know.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
The 30-39 year old group were particularly keen on the poster. This was driven both by a genuine love for the image and by the fact that it matched more closely what they were expecting to see:
|“Just by seeing the Mona Lisa, it attracts attention, you can put it any place – at a bus stop - and people |
|will be asking about it.” |
| | | |
|Non-Reader |AGED 30-29 | |
| | | | |
|“It is closer to the expectations I had, which is less action more mystery.” |
| | | |
|Non-Reader |AGED 30-29 | |
| | | | |
A prior familiarity with the painting was also important to the youngest group. They discussed how the fact that such a famous, well-viewed painting could have hidden meaning would motivate them to look again at both this painting and other, previously unquestioned ideas:
|“The first thing I would go and do is see the print [of the Mona Lisa] that I have in my house and look at it|
|again, to see what Da Vinci has hidden in it.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
ii) Barriers
Amongst non-readers, the main criticism of the poster was that they wanted more information than was provided, most notably about the cast. Many group members explained how they would go and see a film purely because of the actors. Therefore, that such a big name as Tom Hanks was missing from the poster was felt to be surprising:
|“Not knowing anything about the book, iIt lacks many things. Many people go because they like Tom Hanks or |
|another of the actors, and this does not say anything about them.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
|“I did not know Tom Hanks was going to be in it and I’d like to see his name there – that gives credibility |
|for those people who may think this is a bad copy of the book.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
Aside from this, a couple of members of each group admitted they had not noticed that the Mona Lisa’s smile was hidden, or the code in the background. They were therefore left with the impression that an over-ambitious degree of analysis was needed by passers-by in order to access the deeper meaning of the poster.
Finally, in one group there was some confusion as to exactly what role Mona Lisa had in the story, given she was the only element featured on the poster but did not appear at all in the trailer.
|further positionings |
Having discussed ideas evoked by the trailer and the poster, non-readers were asked to describe anything else they had expected to see in the marketing materials, based on what they had heard about the novel.
i) Key Elements
Religious Metaphors
As with the readers, non-readers had expected there to be a greater degree of religious symbolism in the marketing materials for The Da Vinci Code.
Both groups explained how, given the book had impacted at the most senior echelons of the church, they expected a high-ranking church official to feature:
|“I would expect a Cardinal or a Pope - the image of a much stronger religious person because we are speaking |
|about trying to uncover a secret of the church and a priest appears but he’s the lowest in the hierarchy of |
|the church.” |
| | | |
|Non-Reader |AGED 21-29 | |
| | | | |
It was felt a greater religious content would not only match what they had heard of the book, but would also serve to warn those who had heard nothing about the novel that there was a potentially controversial religious subject matter – thereby preventing the easily offended from innocently attending the movie.
Finally, despite the controversy it was sure to cause, many described how the fact that the film had a religious content would prove motivating in Mexico:
|“There should be something more religious, given the book has religious motives – it’s going to pull people |
|in more.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
Da Vinci
Perhaps illustrating some misconceptions as to the content of the story, all non-reader groups felt that Da Vinci himself should feature more in the marketing for the film.
There was a call for more information on the artist’s history, as well as the visual representation of his paintings, which would set the appropriate mood and evoke a sense of history behind the secrets described in the film:
|“I’d include more about Da Vinci’s life – the painting of the Last Supper or something of those times.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
Code-Breaking Elements
Reflecting their strong interest in the code-breaking element of the film (ascertained mainly from the poster), non-readers suggested including this element within the rest of the advertising.
This would not only represent this part of the story but could also be an interactive feature that could entertain as well as generate interest:
|“There could be a puzzler created just for the trailer, numbers that you join to form a word or something.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
The Success of the Novel
Finally, non-readers felt that the success of the novel should be used when promoting the film, to give a sense of how popular, widespread and appealing the central story was:
|“Simply referring to the book in the newspaper, on the poster and the big screen – the fact that it’s a |
|best-seller would guarantee interest.” |
| | | |
|Non-Reader |AGED 40-54 | |
| | | | |
ii) Mood / Tone
Non-readers described how they expected the film to revolve around suspense and action (a far cry from their first expectations of a dark, sombre and serious religious movie). To further crystallize the perceived mood and tone, they were asked to suggest adjectives:
| | | | | | | | |
| | | | | | | | |
| |Mysterious | |Exciting | |Hard | |Interesting |
| | | | | | | | |
| |Dark | |Intellectual | |Controversial | |Revealing |
| | | | | | | | |
| |Impressive | |Confrontational | |Intrigue | |Investigative |
Of note is the focus on the intrigue / suspense elements of the story, and the move away from controversy and conflict.
iii) Target
As with readers, most anticipated a fairly broad, albeit well-educated, audience for the film in Mexico. Across all groups, university students sprang to mind as those to whom the film would appeal most, due to their more open-minded outlooks:
|“Someone who has education or is learning, perhaps university students.” |
| | | |
|Non-Reader |AGED 30-39 | |
| | | | |
Aside from this, it was felt that anyone aged from their 20’s to their 50’s or 60’s would enjoy the film, with it in no way essential to have read the book first.
|prompted positionings |
A: Action / Pursuit
| |
|This would position the movie primarily as an action thriller in which Langdon and Neveu must out-run Silas, Fache and the French police in |
|order to prove their innocence and find the real killer of Jacque Sauniere, the curator of the Louvre. |
| |
|Robert Langdon, a professor of symbolism, is falsely believed to have murdered the curator of the Louvre. Sophie Neveu, a cryptologist and |
|granddaughter to the curator, teams up with Langdon to find the true killer. In a breathless race through Paris, London, and beyond, Langdon|
|and Neveu match wits with a faceless powerbroker who seems to anticipate their every move. |
| |
|Langdon and Neveu are pursued not only by the French police but also by a mysterious monk named Silas who kills anyone who gets in his way. |
Overall, this positioning was not felt to fairly represent what had been heard about the novel, or portrayed in the marketing materials. If anything it was in danger of potentially misleading audience members – especially those who might be offended by finding a controversial religious subject matter that they had no prior warning of.
|positives |negatives |
| | | |
| | | |
| | |
|The eldest group liked the fact that there was no mention of the devil|This positioning was widely felt not to match expectations of the |
|or other potentially worrying elements: |novel: |
| | |
|“It is good, I do not like movies of great mystery and suspense, |“I do not believe the book is like that – if it is, I won’t see it” |
|related to weird things” | |
| | |
| | |
| |This was largely because it omitted everything except the action: |
|The suspense of the chasing and pursuing was also felt to be exciting | |
|and enjoyable: |“It is OK to have action, maybe the movie is about that but they took |
| |away the part about mystery and suspense and left it as pure action” |
|For some, it brought to mind their enjoyment of the James Bond films | |
| | |
|This positioning was described as having a very broad commercial | |
|appeal, especially to males due to the action focus. |Of particular importance was the fact that there was no reference to |
| |any religious elements, which non-readers knew to be present in the |
| |novel: |
| | |
| |“No religious confrontation, zero controversy” |
| | |
| | |
| | |
| |It was felt this positioning would only appeal to those who enjoyed |
| |superficial, action movies, epitomised as “Jackie Chan fans” or |
| |children. |
B: Unravelling the Mystery / Solving Puzzles
| |
|This storyline would position the movie as an entertaining mystery in which Langdon, Neveu and Professor Teabing follow a series of puzzling|
|clues as they try to unravel the secrets behind a series of murders and ancient mysteries. |
| |
|Shortly before he dies from gunshot wounds from an unknown assailant the curator of the Louvre leaves a series of puzzling clues. Robert |
|Langdon, a professor of symbolism, and Sophie Neveu, a cryptologist and granddaughter of the curator, are brought to the scene to make sense|
|of the clues. |
| |
|Langdon and Neveu must solve a number of puzzles, riddles and codes involving classic pieces of art, ancient history and dangerous secrets. |
|Each clue leads to another and yet another as the fascinating and startling picture of what lead to the curator’s murder slowly emerges. |
Amongst non-readers too, this positioning was by far the favourite. It contained the all-important code-breaking and suspense elements and was felt to be a true, authentic representation of the novel
|positives |negatives |
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|This positioning matched expectations as to the content of the novel |The bullets were felt to be a “bit too much” and too reminiscent of |
|and therefore gave a good idea of what would be seen: |action |
| | |
|“This is closer to reality. The other one cheats and you’ll go with |There was felt to be a danger in playing up the suspense too much, as |
|one idea and find something different” |this may then cause unrealistic expectations which the film could not |
| |fulfil: |
| | |
| |“I feel there shouldn’t be excessive suspense – there was too much |
| |around Blair Witch.” |
|The focus on the historical and cultural aspects of the story were | |
|appealing and interesting to non-readers | |
| | |
|Non-readers appreciated that the religious element was mentioned, and | |
|therefore viewers would be forewarned: | |
| | |
|“there is something about the dangerous religious topic” | |
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|The enjoyable mystery aspect of the story was felt to have been | |
|emphasised: | |
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|“It tells of the mystery, what they are looking for – and the codes | |
|they have” | |
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|This would appeal to a broad range of audiences | |
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