UK films at the global box office
UK studio-backed films (UK films wholly or partly financed and controlled by US studios but featuring UK cast, crew, locations, facilities, post-production and often UK source material) shared 7% of the worldwide box office in 2020, with earnings of $852 million, a substantial fall from 2019’s market share of 22%. While none of 2020’s planned releases were expected to earn as much as 2019’s Avengers: Endgame (the second highest grossing film of all time), major UK studio- backed films removed from 2020’s schedule included titles from franchises that traditionally generate substantial revenues at the worldwide box office, such as Black Widow, Fast & Furious 9 and No Time to Die.
UK independent films earned 2% of global revenues in 2020, with a gross of $242 million, a fall from 2019’s market share of 2.5%. While many UK independent films planned for release were also delayed (including Everybody’s Talking About Jamie, The French Dispatch and Supernova), the reduced number of studio-backed films being released in the second half of the year meant that those cinemas which were open screened more independent films and older releases than would otherwise have been expected.
The annual global market share for UK films is closely
aligned with the success of inward investment titles
supported by the major Hollywood studios (Figure 1).
The share of the market achieved by these studio-backed
films fluctuates from year to year and is largely dependent
on the performance of a small number of titles. The high
points in the chart were propelled by the success of Star
Wars: The Force Awakens ($1.9 billion) and Avengers: Age
of Ultron ($1.4 billion) in 2015 and Avengers: Endgame ($2.4 billion) and The Lion King ($1.4 billion) in 2019. In
comparison, the highest grossing UK qualifying film
released in 2020 was Tenet which, although it was the
fifth highest grossing film worldwide, made $293 million.
The annual global market share for UK qualifying independent films has ranged from 1% to 3% over the period. The highest earning UK independent release in 2020 was The Gentlemen ($98 million).
The top 10 highest earning UK qualifying films released at the worldwide box office in 2020 grossed $977 million (Table
2). Tenet was the top grossing title with earnings of $293 million. Unlike in 2019, when the top 10 was comprised entirely
of studio-backed titles, all of which were either franchise films, ‘live-action’ remakes or sequels, 2020’s top 10 contains
four UK independent titles (The Gentlemen, Emma, The Personal History of David Copperfield and Hellboy). As another
indication of the atypical nature of 2020, Hellboy appears in the top 10 list with earnings generated in just one territory,
China. (It was released in other territories in 2019.)
TENET
The highest earning UK film at the worldwide box office in 2020 was Tenet with a gross of $293 million.
How Warner Bros. is selling the single most important movie of the year.
The stakes could not be higher. Whether or not theaters are open, and how safe they might be amidst the ongoing Covid-19 pandemic, has been endlessly discussed and debated. It’s been the subject of more hot takes and think pieces than defunding the police.
Writer/director Christopher Nolan’s latest film comes with more baggage than Princess Vespa fleeing her wedding on Druidia and more expectations than an only child going to the same college where her father was student body president.
Warner Bros. originally planned a July release for the film, putting it in the middle of what was sure to be a hot summer movie season. The world had other plans, though, and after a number of delays because of theater closures resulting from the pandemic it is finally coming to U.S. theaters, a week after its international release, which brought in about $53 million. Over the course of 2020 it has been held up as the great savior of theaters, the title that would bring audiences back after months of watching movies at home or at drive-ins.
The Trailers
The first trailer (24 million views on YouTube), released in December, is as enigmatic as you’d expect from a Christopher Nolan movie. The Protagonist has passed some kind of rigorous test and now finds himself in “the afterlife,” though whether that’s the name of an organization or some other designation is unclear. Whatever the case, he’s now part of a team tasked with preventing the end of the world, and his role allows him to see things in a non-linear, wibbly-wobbly, timey-wimey kind of way. There are car chases and expertly choreographed action sequences and, at the end, more questions then there were at the beginning.
The Protagonist is introduced to the word “tenet” almost as soon as the second trailer (28.7 million views on YouTube), released in late May and debuting in Fortnight, begins. From there he – and we – learn about the job he’s undertaking, one that has implications including preventing something much worse than armageddon. There’s discussion of how the time “inversion” he and others are capable of works and how it helps them do their job, and a more or less clear statement of who it is behind the threat they have to extinguish. Throughout the trailer the audience is reminded that Nolan is the creative force behind the film and, at the very end, an emphatic statement that the movie will be coming to theaters.
The “final” trailer (9.8 million views on YouTube) came out in late August, just after release plans were finalized by the studio. There’s a bit more of the story offered here, though not enough to come close to fully explaining what exactly is happening. But we see how The Protagonist is being trained and is given a mission to, essentially, prevent a war that hasn’t happened yet by manipulating time. It’s all very slick, sold like a James Bond adventure complete with fast car chases and more. Notably, it features an end card reminding fans the film opens September 3 “where theaters are open.”
The official website for the movie
A brief look at the still-secret film was shared with attendees of CCXP in Brazil in December of last year.
As the first trailer was being released a massive ad buy took place, including a big digital ad on Times Square signage.
The second trailer received a similar but different big stage, debuting and screening hourly in Fortnite, an attempt to gain the attention of that game’s players. Some of Nolan’s previous films were also screened within the game environment.
How Warner Bros. is selling the single most important movie of the year.
The stakes could not be higher. Whether or not theaters are open, and how safe they might be amidst the ongoing Covid-19 pandemic, has been endlessly discussed and debated. It’s been the subject of more hot takes and think pieces than defunding the police.
And now, ladies and gentlemen, Tenet is finally here.
Writer/director Christopher Nolan’s latest film comes with more baggage than Princess Vespa fleeing her wedding on Druidia and more expectations than an only child going to the same college where her father was student body president.
John David Washington stars as The Protagonist, a man who is recruited into a mysterious spy organization, given only the word “tenet” to guide him as he’s ushered into a world where terrorism and war can be prevented by examing the artifacts that fall backward through time from the future to the present. The war in question is one that seems to be caused by Andrei Sator (Kenneth Branagh), a Russian oligarch married to Kat (Elizabeth Debicki). Helping him are the scientist who explains how time inversion works named Laura (Clémence Poésy) and his handler Neil (Robert Pattinson).
Warner Bros. originally planned a July release for the film, putting it in the middle of what was sure to be a hot summer movie season. The world had other plans, though, and after a number of delays because of theater closures resulting from the pandemic it is finally coming to U.S. theaters, a week after its international release, which brought in about $53 million. Over the course of 2020 it has been held up as the great savior of theaters, the title that would bring audiences back after months of watching movies at home or at drive-ins.
Now we see if that hope was in any way justified. Nolan is a beloved filmmaker whose work is largely praised, but initial reviews have been somewhat mixed, giving it a 78 percent “Fresh” rating on Rotten Tomatoes. That lukewarm reception may be giving theater owners additional concern. Even if they acknowledge that recovery may not be quick, this is the basket in which they have placed most – if not all – of their eggs. AMC Theaters has put off reopening a few times, largely in reaction to this movie’s delays, but is now touting how 70 percent of its locations will be open this weekend. Other chains like Regal have also promoted how many of their screens will be open and in what states, depending on local restrictions on group gatherings.
In some ways, it benefits by not actually being the first big studio release to come back to theaters. After a few smaller titles have come out recently, last week Disney put The New Mutants on screens, and while the $7 million take for that film might have been disappointing, it essentially served as the warm-up act for this week.
With all that on the record, let’s look at how Warner Bros. has selling the film over the last several months, right up to release.
The Posters
The Protagonist strides toward the camera on the first poster (by marketing agency BOND), released last December. The image is split down the middle, showing him walking away on the other side, which is also turned upside down, hinting at the fractured nature of the story.
In July the second poster (by marketing agency Concept Arts) came out, once more showing a split image of The Protagonist, a scene of apparent devastation in the background. Note that this one still has the mid-August release date.
An IMAX poster came out later in July that features multiple versions of The Protagonist placed around the expanded canvas, similar war-like scenes again shown in the background. Nolan is not only mentioned on this one but also identified as the director of Inception and Dunkirk.
The Trailers
The first trailer (24 million views on YouTube), released in December, is as enigmatic as you’d expect from a Christopher Nolan movie. The Protagonist has passed some kind of rigorous test and now finds himself in “the afterlife,” though whether that’s the name of an organization or some other designation is unclear. Whatever the case, he’s now part of a team tasked with preventing the end of the world, and his role allows him to see things in a non-linear, wibbly-wobbly, timey-wimey kind of way. There are car chases and expertly choreographed action sequences and, at the end, more questions then there were at the beginning.
The Protagonist is introduced to the word “tenet” almost as soon as the second trailer (28.7 million views on YouTube), released in late May and debuting in Fortnight, begins. From there he – and we – learn about the job he’s undertaking, one that has implications including preventing something much worse than armageddon. There’s discussion of how the time “inversion” he and others are capable of works and how it helps them do their job, and a more or less clear statement of who it is behind the threat they have to extinguish. Throughout the trailer the audience is reminded that Nolan is the creative force behind the film and, at the very end, an emphatic statement that the movie will be coming to theaters.
The “final” trailer (9.8 million views on YouTube) came out in late August, just after release plans were finalized by the studio. There’s a bit more of the story offered here, though not enough to come close to fully explaining what exactly is happening. But we see how The Protagonist is being trained and is given a mission to, essentially, prevent a war that hasn’t happened yet by manipulating time. It’s all very slick, sold like a James Bond adventure complete with fast car chases and more. Notably, it features an end card reminding fans the film opens September 3 “where theaters are open.”
Online and Social
The official website for the movie seems to just have the trailer and a gallery of posters along with a button to buy tickets. There were also the usual social profiles that offered promos and links over the last few months.
Advertising and Publicity
In a surprise move, the first teaser was attached to Hobbs and Shaw when it was released in early August. That teaser was not immediately released online, generated more questions about the movie – still in production at the time – than it answered, but it certainly created a good amount of buzz.
A brief look at the still-secret film was shared with attendees of CCXP in Brazil in December of last year.
As the first trailer was being released a massive ad buy took place, including a big digital ad on Times Square signage.
The second trailer received a similar but different big stage, debuting and screening hourly in Fortnite, an attempt to gain the attention of that game’s players. Some of Nolan’s previous films were also screened within the game environment.
A video was released in mid-August by Skyscape, a company that trades in the history and techniques of spycraft throughout the ages. Narrated by Hayley Atwell, the video digs into the mysteries surrounding the word “tenet” that date back to ancient times and some of the places it has appeared along with what those appearances might mean.
Initial U.S. screenings were scheduled for three days beginning August 31 at select venues like Chicago’s Music Box Theater and others. Tickets went on sale for those previews went on sale on 8/21.
Rapper Travis Scott teased a song he created for the film, one that was previewed before its scheduled debut during TNT’s broadcast of the Mavericks/Clippers game on 8/21. The song was released online that day and is featured in the final trailer.
Commercials reportedly began running in select markets as recently as mid-August. That included one from IMAX that encouraged audiences to see the mind-bending action on the biggest screen available.
Washington, Pattinson, Debicki, Branagh and others praised Nolan in a behind-the-scenes featurette that explored how massive the movie is, what the primary story themes are and how it was all made.
Media and Press
Casting and other details came out last year in fits and starts, adding to the mystery of the project while building anticipation.
Because shooting had just begun there wasn’t footage to show, but Warner Bros. still included the film among the upcoming releases it promoted to CineEurope attendees in June of last year.
A first look photo was released just before the first trailer came out.
Around May the movie began to become something of a lightning rod with regard to the state of movie theaters. In the weeks prior some states had begun to open up the economies a bit more, releasing some of the pandemic-restricting rules, including on theaters. It seemed likely, then, that Tenet would become the first major studio release since almost all screens were closed, and theater owners were hoping built up anticipation could push it to a $100 million opening weekend.
Nolan even publicly stated that he hoped that would be the case, reiterating his commitment to theatrical releases. And Warner Bros. CEO Ann Sarnoff made similar statements, name-dropping this movie specifically, all in an attempt to both set audience expectations that it would not be coming to streaming and to reassure theater owners the studio was not abandoning them entirely.
Around the end of May the scale of the production began to become the focus of the press, including interviews with Nolan where he talked about the massive practical effects employed. At the same time Washington commented on the fan theory that this was some kind of sequel to Nolan’s Inception.
One theme that was consistent in the press through June was that the cast wasn’t much more in-the-know than the audience. A profile of Washington had both him and Pattinson talking about how little they understood the mind-bending nature of the story, with similar comments made by Branagh. Nolan, though, stated he thought the cast got what was happening. He also spoke about helping editor Jen Lame get the rhythm of the story down and more.
A lot of previous ground was covered in an EW cover story package that included fresh looks at the film along with the usual comments about its groundbreaking nature. Debecki revealed a few new details about her character in another interview while also talking about working with Nolan and more.
Overall campaign
The campaign sells a slick spy thriller wrapped in a time-twisting sci-fi adventure, James Bond meets “Legends of Tomorrow.” Many of the hallmarks of Nolan’s brand of filmmaking are present, from the slick production values to the stylized lens everything is viewed through. Nolan’s movies are known for being layered mysteries the audience is asked to wade through and that’s exactly what’s being sold here, with few of the story’s details being revealed while lots of great set pieces are shown off.
Picking Up The Spare
Regal Cinemas released a new interview with Washington and another with Debicki and then the both of them. IMAX put out their own interview as well.
Washington appeared on “Kimmel” when Samuel L. Jackson was cohosting.
Christopher Nolan has some thoughts about what lessons should or shouldn’t be learned from how the movie fared in theaters during the pandemic.
Tenet's first trailer was released exclusively to cinemas at first, a tactic that seemed in line with Nolan's oft-discussed commitment to the theatrical experience. The most recent trailer, however, came to the world via a Fortnite event. The pandemic certainly forced Hollywood to find alternative means of promotion, but a virtual outdoor theater on the Fortnite party royale island was especially unique and unexpected. This wasn't a first for Fortnite, which also premiered the Emperor's speech from Star Wars: The Rise of Skywalker's opening crawl and Quibi's reboot of Punk'd, but Tenet didn't seem like a natural fit in the same way as the aforementioned titles.
On top of this development, there was another major aspect of Tenet
that remain curious: Warner Bros. was committed to a 2020 Summer theatrical release.
Christopher Nolan is one of the few directors working today who can command a massive budget, total creative control, and original IPs, and do so while making major money at the box office. It's safe to say that he's earned a level of trust from Warner Bros. and his strident commitment to theaters, even during this tumultuous time, is part of that. With a reported budget of $205 million – making it the most expensive film Nolan has ever directed – the studio needs Tenet to be a huge hit and a significant event in the pop culture calendar. That means keeping up the film's mystique, putting Nolan front and center, and reaching as many people as possible during a time when traditional methods of marketing aren't available.
The movie has also become a marker of sorts for Hollywood to see if the industry and audiences are ready to return to cinemas so early. A lot is riding on Tenet's success. As Anne Thompson of IndieWire noted, "No release date has ever seen the attention, or pressure, currently placed on Christopher Nolan's Tenet." Nolan’s films have never been marketed as bog-standard blockbuster titles, but the drama surrounding Tenet is a reminder that, during unprecedented times of uncertainty when the old ways don’t work, sometimes you just need to throw everything at the wall to see what sticks.
Sources https://cinematicslant.com/2020/09/02/tenet-marketing-recap/
THE GENTLEMEN (dir. Guy Ritchie 2019) STX Films and Miramax
The highest earning UK independent film worldwide in 2020 was The Gentlemen with a gross of $98 million.
STX's promotional partners on 'The Gentlemen' include whiskey, recreational cannabis and male fashion brands.
Marketing campaign
The Posters
A small handgun made of ice sits in a glass of whiskey on the first poster (by marketing agency BOND) from October, helping to establish the movie as being about a high class of violent criminal. That’s reinforced by the “Criminal. Class.” copy at the bottom, while the rest of the poster is all about showcasing the big names in the cast.
Each character got their own poster. Another series of posters covers the same basic ground but puts an ornate frame around the photos.
The theatrical poster
brings all the characters together on
the same image. It seeks to sell the movie based on the star power
of the cast as well as Ritchie’s name recognition.
The Trailers
Early October saw the release of the first trailer (6 million views on YouTube), which centers on a conversation between Fletcher and Raymond. That conversation serves as a recap of the events of the story, allowing for footage to be shown that coincides with the story he’s telling. There are double-crosses and threats thrown in various directions, all of which adds up to just the kind of high-end gangster flick Ritchie is known for.
About a month later, the studio compiled footage from various fan videos to show how they reacted to the trailer.
A second trailer (393,000 views on YouTube) came out in late December and features a lot of the same footage. One thing that’s made more clear here is the rivalry between Mickey and Dry Eye (Henry Golding), an ambitious young criminal eager to take over Mickey’s operation, with the older drug dealer not eager to cede the stage to the upstart.
Advertising and Publicity
At the Cannes Film Festival in 2018, Miramax stepped up to acquire the movie and provide financing. It then changed hands in February 2019 when STX bought it and changed the name from Toff Guys to Bush.
It then received another name change to its current moniker, an update revealed when it was part of the studio’s CinemaCon presentation, which included some of the cast as well as studio heads who promised it was a return by Ritchie to the director’s crime roots.
A clip released in late December had Mickey pitching Matthew (Jeremy Strong) on the “gold rush” that is weed and the need for his criminal empire to have a new leader with a less tarnished reputation.
Digital video ads and TV commercials began running in early January, with spots that reinforced the messages conveyed by the trailers that the movie was a violent good time with fast-talking criminals and the morally compromised individuals around them.
Online ads placed around the web at about the same time used elements of the key art, particularly the photos of the assembled cast.
Promotional partners for the film include:
Flaviar released a limited-edition, movie-themed single-malt whiskey. The company also gave away tickets to exclusive screenings in New York and Los Angeles earlier this week.
Eaze created a special movie-inspired menu of its cannabis items for
people to try out, with those who do entered to win a screening of the
pic for themselves and 20 of their friends.
Sources: https://www.hollywoodreporter.com/movies/movie-news/gentlemen-marketing-is-style-1272167/
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