Oh god this just looks fantastic.
Jessica Chastain is basically my One True Love.
Fast Company provides an awesome summary of the whacky transmedia Marketing machine for Deadpool 2. I just love all this thinking-out-the-box stuff.
“What 20th Century Fox and Ryan Reynolds did was lean into what worked last time, while expanding ever so slightly into newer, less familiar areas. Like a coloring contest. Or somehow convincing Good Housekeeping magazine to let Deadpool guest edit a holiday issue….plus.the ultimate film soundtrack formula for success (since ’97): a Celine Dion power ballad. Unexpected, sure, but with about 20 million views and bajillions more in earned media, it’s yet another shrewd move by the guy in red tights.
Perhaps the most obvious way Deadpool 2‘s marketing has expanded beyond its initial incarnation is with product marketing. Even there, though, the studio has managed to play it just weird enough to make even a blatant brand tie-in cash grab look like a clever joke. This is not Happy Meal territory. Here we meet Devour frozen sandwiches in what appears to be a middle-of-the-night munchies-induced fever dream, self-aware sell-out accusations and all.
Then there’s Mike’s Harder Lemonade, which goes the pretty traditional route of tie-in packaging, but then added a twist with two pop-up bar events in New York and L.A. that recreate Deadpool’s favorite watering hole, Sister Margaret’s School for Wayward Girls. More impressive is the partnership with candy brand Trolli on a “tiny hands” edition of the gummies, a clever throwback to a memorable scene in the original…”
Skyscraper is the year’s biggest “not based on anything” studio release, and the weight of its expectations is resting on the broad shoulders of its affable lead, Dwayne “The Rock” Johnson. Johnson is one of a tiny handful of modern-day movie stars able to front mid-to-big budget vehicles based on their perceived value to the audience moviegoer. And before Skyscraper, there’s Rampage, the movie trailer that got me thinking about our Dwayne this morning….
Love, Simon is something of a first; a major Hollywood studio production that does not diminish or ignore the fact that it’s essentially a gay teen love story in its marketing materials. Just look at the cheeky billboards erected in LA to promote the movie. We-ho – West Hollywood – is obviously the city’s main gay district.
This was all part of a text-based “Dear [blank]” campaign, pulling in a narrative device from the film with customized billboard and bus stop promos specific to different film markets. A second Los Angeles area advertisement, for example, reads: “Dear WeHo, I’m done keeping my story straight.”
In New York, signs proclaim, “If I can come out here, I can come out anywhere.” Ads in the nation’s capital say, “Dear DC, You seem confused. Good thing I’m not.” Other cities with tailored messages include Chicago, Philadelphia, San Francisco, San Diego, Boston and Dallas.
LA Times reports that Fox also created a postcard generator that allows users to create their own “Dear [blank]” graphics. The film’s official Twitter account used it to send words of encouragement to openly gay Olympians Gus Kenworthy and Adam Rippon.
So now all that’s left is to buy tickets to the film (so they get the message and make more movies like this…)
PS also check out the Dasani Water product placement in the top image.
Two things. First: Veronica. It’s the latest from Paco Plaza, the Spanish writer-director responsible for the first two [REC] movies. It’s a solid, well-made horror telling the ostensibly true tale of a luckless 15 year old who invites something horrible in after an ill-advised ouija game. The ensuing drama plays out mostly in a small Madrid apartment, ramping up the conflicts bit by bit, to a suitably chaotic climax. I enjoyed it. It won’t win many accolades (except for the acting, which was great) and it was all-in-all a gripping enough way to spend 90 minutes. So far so good.
The second thing, and the main reason I mention this movie at all, is that Veronica was released direct to Netflix, with zero publicity and no fanfare. Yesterday, no Veronica, today; ta-da. Netflix would seem to be a odd release strategy for a movie maker; it seems to be a kind of marketing deadzone, an apologetic admittance of middling quality… Continue reading “Veronica and the Release Strategies”