The Hollywood Reporter brand relaunches
Overhaul designed to super serve global entertainment communityThe Hollywood Reporter Monday completed a wholesale overhaul of its iconic brand, including a redesigned look and format for its print and digital publications, a revised editorial approach, expanded range of coverage and analysis and new industry data exclusive to THR-parent The Nielsen Company.
More than a cosmetic change, the transformation is devised to uniquely position THR to super serve a wider range of today's global entertainment markets, which are increasingly technology-savvy and data-driven, with a more readable, insightful and actionable business resource across all platforms.
"Today is a new day at The Hollywood Reporter and one of the most exciting times in its 78-year history," said Eric Mika, Publisher of The Hollywood Reporter. "Backed by key partners within The Nielsen Company, such as Nielsen EDI, the comprehensive changes we are introducing -- from cover to content to approach -- reflect the changing needs of our audience and will allow us to drive the discussion about the business of entertainment for the 21st century."
"This brand redesign is the result of our ongoing efforts to create a new Reporter, one that is more relevant, accessible and impactful for our global audiences on every platform," said Elizabeth Guider, Editor of The Hollywood Reporter. "Our new design and editorial approach will make it easier for print and online audiences to access the data, information and insight they rely upon each day for mission-critical decision making."
The new print edition features a number of changes to make it easier to read and provide audiences new ways of absorbing and interpreting round-the-clock coverage and analysis filed by more than 60 reporters and editors around the globe. Some of the new features include:
-- A bold, graphic design that features a more comprehensive cover and cleaner logo;
-- More seamless and contiguous copy flow with fewer story breaks as well as more clearly-defined, dedicated sections;
-- Chart data exclusive to The Nielsen Company, including weekly Top 40 Box office data and other entertainment consumption trends, complemented by expert external and internal analysis; and
-- Region-specific content, supplementary digital coverage of print stories, and more than 250 special issues throughout the year.
The Hollywood Reporter has revamped its digital portal at THR.com with highly-improved navigation; dedicated microsites for key areas of coverage; expanded multimedia offerings; and a new content. Changes online include:
-- A dedicated technology section accessible at THR.com/tech.
-- Streamlined advertising integration;
-- The debut of four channels of online video - "Boxoffice Tally," "News," "Exclusive Interviews," and "Festival Dailies" - accessible via the THR.com homepage and the THR Network homepage at THR.com/video; and
-- The premiere of the "Hollywood Live Feed" blog, reporter James Hibberd's daily take on television ratings, news, video, analysis and Q & As with TV titans.
The THR re-launch is the culmination of a series of recent initiatives that have broadened the publication's reach domestically and internationally. In the last year THR launched the national day and date edition The Hollywood Reporter: Premiere Edition for U.S. East Coast markets; THR Digital, the online version of the paper available in 12 languages; market and festival dailies in Hong Kong, Berlin, Pusan and Dubai; an expanded international presence in Asia and Europe; and the launch of a weekly Korean-language email newsletter.
Letter from the Publisher
Eric Mika, Publisher, The Hollywood Reporter
In 1930, Billy Wilkerson launched Hollywood's first daily show business trade paper, and today we celebrate his legacy and build upon it with the same concentration on editorial independence that he seeded nearly 80 years ago.
While the entertainment industry has never stood still, the pace of change has quickened beyond what anyone might have imagined back in Wilkerson's day. We work in an industry that is expanding globally and developing content options for ever proliferating platforms, everything from 3D movies to mobisodes.
The complexity of the entertainment community is not just a result of new technologies and new outlets, but also of globalization. The business is no longer conducted solely along Wilshire Boulevard; it is bustling in Beijing, Bangalore and Berlin. THR's mission, however, has remained the same: to be a major source of actionable news, information and data on the creation, financing, production, marketing and distribution of entertainment content in all its forms, on all platforms, on a global basis.
Finance is culled from Asia and the Middle East, packaged in Geneva and New York and invested in Hollywood. Or that films are made from computer games and vice versa. Or that nonfiction formats are altering the small-screen landscape around the world.
Such developments mean that readers need ever more sophisticated data and analysis to make informed decisions about the business. THR parent, the Nielsen Co., boasts a number of units devoted to gathering and analyzing what's going on in the established and proliferating parts of the industry. Nielsen EDI, Nielsen Mobile, Net Ratings and SoundScan are among those dedicated to providing information to THR so it can better serve its readers.
I hope you embrace the new Hollywood Reporter and come to enjoy the new editorial components we will be introducing. I am proud to be responsible for this venerable brand during this exciting time. I am even more proud of the professionals who publish it every day. They are dedicated to reporting and editing the news, designing and embellishing the look of the paper, working with advertising clients to astutely position their products and services, and marketing and distributing our brand every day around the globe -- all for you, our most valuable asset.
Letter from the Editor
Elizabeth Guider, Editor, The Hollywood Reporter
So why this extreme makeover of The Hollywood Reporter?
With all the changes going on in the entertainment world, it became increasingly clear to us that to be a must-read that truly serves the business, we had to morph as well.
The economic models that underpin the business are being overturned at a dizzying clip; new platforms and devices are clamoring for content and shifting the way people spend their leisure time and money; studio execs are being forced to revamp their roles; creative types are having to grapple with new ways to tell stories; upstart players from wherever are pushing their way onto the world stage; prosumers are demanding edgier, less-filtered info on their favorite shows or celebs.
And everyone in the entertainment space has less time to devote to reams of newsprint, but ever greater need for insight and info they can use.
In short, just resting on our laurels as the No. 1 Hollywood daily trade paper is simply not enough. We too needed to undergo a rethink, not just of our look, but of our style and substance.
That rethink, which has been going on for the past year, did not mean throwing out the legacy of a 79-year-old Hollywood institution. Rather, it meant enhancing the best of those traditions while embracing the challenges confronting 21st century publishing. It also meant many trips back and forth to New York for drill-downs with our designer James Reyman of Reyman Studio, listening to the suggestions from various focus groups and encouraging and empowering our news operation to elevate its game -- and play to win.
To that end, we'll henceforth be concentrating our efforts on thought-provoking content: pithy news stories, more useful data and charts from our parent company Nielsen, weekly cover stories about trends and personalities shaping the pop culture, edgier and more opinionated columns and blogs, Q&As with top-tier execs and talent, party pages with more panache. And there will be a more dynamic flow to the paper -- fewer jumps, easier navigation, no dead areas.
There'll be much more collaboration between print and online, with the latter enhancing the value of the print product and creating its own differentiated content -- more video, more polling, more microsites.
The visual palette of the redesign reflects our intent to evolve into a bolder, brighter but still business-like entertainment destination, where subscribers can easily find up-to-the-minute information about all aspects of the biz -- from castings to court cases, from the buzz on studio lots to the goings-on at talent agencies. Plus, we'll have reports from our correspondents' network around the world and a platform for VIPs to sound off about issues of interest to our global village.
We think of this effort as a beginning -- and we hope to evolve over the coming months and years, just as surely as the entertainment business will.
This exercise in reinventing ourselves has been by turns invigorating, unnerving, inspiring -- and sleep-depriving! The results we hope will be rewarding. Do let us know.
New THR: 'Authoritative, accessible, immediate'
"Good design is not about making things look better, it's about making them work better."
That was one of the guiding principles for James Reyman, the New York-based designer whose team spent the past eight months reimagining The Hollywood Reporter as a 21st century publication.
His approach to a rethink of the almost 80-year-old paper involved the belief that all great publications are a product of their time.
"Readers don't have as much time as they once did for reading their favorite magazines," he said. "They need their information fast, accessible and easy to get through. People today are constantly on the move; multitasking is a natural part of their daily lives."
Together with the publisher, the editor and the top designer at the paper, Reyman set about last summer to forge a new path for readers with a strong interest in the business of Hollywood.
"It was," he said, "about creating a strong visual identity for a publication of distinction."
One of the first things to get right, he pointed out, was the creation of a new logo: The idea, he said, was to be "authoritative, accessible and immediate." The one eventually adopted by THR staff is, he said, "projects leadership in the industry. It's easy to remember and is identifiable whether on a magazine cover, television screen, computer monitor or cell phone."
Among the other major elements that Reyman introduced was the choice of a new versatile contemporary typeface with classic lines. "We eventually settled with sturdy, eminently readable faces designed by Cyrus Highsmith of the Font Bureau." The reader will also, he added, see a variety of beautiful illustrations and portraits by leaders of contemporary design.
Reyman is the principal and creative director of Reyman Studio, a graphic design firm in New York since 1997, specializing in editorial design for print.
In addition to undertaking the redesign of The Reporter, his studio's recent projects include the redesign of the domestic edition of the Wall Street Journal -- Reyman was a member of the three-person design team -- which launched on Jan. 2, 2007; the redesign of the Far Eastern Economic Review; and the redesign of the international editions of the Wall Street Journal.
Reyman also redesigned the Home section for the Washington Post. He has produced magazine projects for Bloomberg, Time and Hachette Filipacchi. He also has been a guest art director for the New York Times. His book jacket designs have appeared on novels published by Soho Press, Harper Collins, St. Martin's Press, Bantam, Dell, Canongate and Ballantine. He has designed cookbooks and nonfiction titles for William Morrow, Gibbs Smith and Springer Publishing. He has designed posters and books for CCNY, promoting their graduate program in architecture.
He teaches typography at FIT, SUNY in New York. He is a native New Yorker and lives in Manhattan with his wife and son.