Allan Freeman: A Visionary in Movie Marketing Passes Away at 88
Allan Freeman, a pioneering figure in the world of movie marketing, has passed away at the age of 88. Known for his innovative campaigns for iconic films such as Star Wars, The Shining, The Omen, and Oscar-winning movies like Rain Man, Dances with Wolves, and The Silence of the Lambs, Freeman’s contributions to the film industry were monumental. He died on June 7 due to an undisclosed illness, as confirmed by his family.
Born on May 8, 1937, Freeman began his illustrious career in the 1960s as a “Mad Man” on Madison Avenue, specializing in consumer research to enhance advertising effectiveness for major corporations like General Foods and Bristol-Myers. In the early 1970s, he transitioned to filmmaking, crafting marketing campaigns for Palomar Pictures, which had been acquired by Bristol-Myers.
Freeman later established his own boutique consultancy, where he developed successful marketing strategies for films such as Sleuth (1972), The Heartbreak Kid (1972), The Taking of Pelham One Two Three (1974), and The Stepford Wives (1975). His innovative work caught the attention of executives at 20th Century Fox, leading him to join the studio in 1975. As a consultant and later as VP of Market Research, Freeman played a crucial role in revitalizing the studio’s fortunes with his campaigns for hits like The Omen (1976), Silent Movie (1976), Julia (1977), and the groundbreaking Star Wars (1977).
Freeman’s marketing genius was evident in his ability to transform low-budget films into box office successes. For The Omen, he not only renamed the film from its original title, The Birthmark, but also designed a haunting, text-only teaser poster that set a new standard for psychological horror marketing. Richard Donner, the director of The Omen, credited Freeman’s influence with revitalizing his career, steering him away from a path of episodic television.
Later, Warner Bros. vice chairman Frank Wells recruited Freeman to join the studio, where he partnered with marketing strategist Andrew Fogelson. Together, they pioneered new marketing approaches that reshaped the industry. Freeman’s efforts on films like Superman (1978) and Every Which Way But Loose (1978) showcased his ability to blend creativity with research-driven marketing strategies.
As the 1980s unfolded, Freeman returned to his boutique agency, working on a diverse array of films, including First Blood (1982), This Is Spinal Tap (1984), and several Disney releases like Tron (1982) and Splash (1984). His innovative approach to marketing was exemplified by his work on The Emerald Forest (1985), where he utilized extensive market research to refine the film’s narrative and enhance its success.
In 1987, Freeman joined United Artists as a senior marketing executive, where he contributed to major releases including The Living Daylights (1987), Baby Boom (1987), and the Oscar-winning Rain Man (1988). His marketing strategy for Rain Man focused on teasing the film’s plot without revealing key details, creating a sense of intrigue that drew audiences into theaters.
Allan Freeman’s legacy is marked by his insightful understanding of what resonates with moviegoers and his commitment to pushing creative boundaries. He inspired his teams to think outside the box and nurtured a culture of innovation in the film marketing realm.
After his tenure at United Artists, Freeman returned to his independent firm, where he successfully marketed two consecutive Best Picture winners: Dances with Wolves (1990) and The Silence of the Lambs (1991). He leaves behind a legacy that has forever changed the landscape of movie marketing.
Freeman is survived by his wife, Barbara, and their children Joanne, Richard, and Marc. His contributions to the film industry will continue to be felt for generations to come.
