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Susan Kantor

It took Susan Kantor years of experience to become an expert at distilling complex ideas into just a few perfect words. It's a skill that has served her well as she's moved through the ranks to become one of TV's most influential marketers.

Today, she's executive VP of marketing at Warner Bros. Domestic Television Distribution (WBDTD). She oversees the marketing piece of the division's two-year-old station relations department, as well as all trade and consumer marketing for programs such as Ellen, Two and a Half Men, TMZ, Extra, Bonnie Hunt, The People's Court and Judge Mathis.

“She's really my right hand when it comes to anything having to do with marketing,” says Ken Werner, president of WBDTD. “When we look at issues that confront us, all of her experience and knowledge are brought to bear. Instead of coming up with a narrowly conceived solution, she finds a broad one that involves the stations, networks and viewers, and touches on all the different aspects of what we're trying to achieve.”

Werner says that his division has a distinctive philosophy: “We're all about content and the marketing of that content in partnership with our customers.”

But it's one thing to say that; it's another to communicate clearly what that means to Warner Bros.' customers.

“I wanted the marketing team to create something that would reinforce cornerstones of what we're doing, and make that come alive in an interesting way to our constituents,” Werner says. “Susan went off and came back with a piece I thought was perfect. It took everything I talked about and captured it in one concise message.”

'Voice' message

That tagline is “Every Program Has a Voice,” which Warner Bros. used to market and brand its large slate of programming in both 2008 and 2009. The campaign uses the word “voice” as a through-line to tie together all of Warner Bros.' products, but also to illustrate what's distinctive about each show. For example, Ellen is “the funny and free-spirited voice of a star at the top of her game,” while TMZ is “a real voice that cuts through the hype of Hollywood.”

“That campaign was a great example of what she does so well,” Werner says. “She listens, observes, understands and then provides solutions that get us where we want to be.”

Kantor was hired to head WBDTD's marketing department before Werner was named president in August 2006. But he found that Kantor was a great fit and named Kantor to her current position in October 2008.

Since then, Werner has created a station relations department at WBDTD that's charged with creating long-term partnerships with customers. Kantor heads the marketing arm of that department, which works closely with TV stations and cable networks to help them brand and promote Warner Bros.' shows.

While Kantor oversees WBDTD's broad marketing efforts, she also spearheads specific campaigns for individual shows. For Ellen, she created a campaign tagging the talk show as “The Best Part of Your Day.”

“We did that campaign two years ago and it really stuck, which makes me as a marketer very happy,” Kantor says. “When you get it right, it can last a long time…and consistency in messaging will make it work harder.”

She also designed launch campaigns for Warner Bros.' off-net hit Two and a Half Men, which has been far and away the syndicated sitcom leader for 83 weeks, and for TMZ, which Warner Bros. successfully turned into a TV show after its Website took off.

“We had a real look and feel for [TMZ],” Kantor says. “We had to communicate how different and bold the show was going to be.”

In TMZ's case, advance marketing allowed producers to see that the audience would accept a show with some snark, Kantor says: “During a show's launch phase, marketing can really lead the way and push a show's voice even before anyone sees the show.”

Kantor, who began her TV career in college, worked at Paramount, Universal, MTV and Twentieth Television before landing at Warner Bros. in 2006.

Her first job was working with George Lois and Dale Pon at their Manhattan-based advertising agency, Lois Pitts Gershon Pon. Lois, “who was all about big ideas and passion for your work,” came up with MTV’s famous tagline, “I Want My MTV.”

And Pon “taught me to trust my instincts, and I think that’s key for any marketer. As you have more experience and knowledge, you learn to trust your instincts and fight for what you believe in.”

Kantor ended up in Los Angeles when her new agency, Jacobs and Gerber, sent her out to work as its liaison with UPN President Lucie Salhany and Marketing Chief Meryl Cohen.

Salhany and Cohen soon realized Kantor’s value and brought her in-house. There, she really began her education in the TV business: “It was the early ’90s and Lucie was the prime example of how a woman can be successful in a man’s world. You watched her and learned from the best."

“And Meryl pushed us to do the impossible. That’s a very important skill to learn in this business.”
At Paramount, Kantor designed promotional campaigns for Star Trek: The Next Generation and Deep Space Nine, and launched Arsenio Hall in late night in 1989.

“Arsenio was the first really cool talent to come to syndication,” she says. “We knew he was going to be a change agent. We also knew we had to be as cool as he was.”

From Paramount, Kantor went on to Universal, MTV and Twentieth before heading to Warner Bros.

“One critical thing I’ve learned is how to listen,” she says of her experience. “I work to understand where everyone is coming from, and then I take all that information and cull it down to something everyone believes in.”

Contributing editor Paige Albiniak has been covering the business of television for nearly 25 years. She is a longtime contributor to Next TV, Broadcasting + Cable and Multichannel News. She concurrently serves as editorial director for entertainment marketing association Promax. She has written for such publications as TVNewsCheck, The New York Post, Variety, CBS Watch and more. Albiniak was B+C’s Los Angeles bureau chief from September 2002 to 2004, and an associate editor covering Congress and lobbying for the magazine in Washington, D.C., from January 1997-September 2002.