How Focus Features is selling a drama showing how determined grandparents can be.
In an episode of “The West Wing,” President Bartlet talks about the determination of grandfathers, but his comments can be applied to grandparents of all kinds. “We’ll make enemies,” he says, “we’ll break laws, we’ll break bones but you will not mess with the grandchildren.”
That quote sums up the story of the new movie Let Him Go, out this week in limited (of course) release. Kevin Costner and Diane Lane play George and Margaret Blackledge, a couple whose only son has recently passed away. Their former daughter-in-law Lorna (Kayli Carter is now involved with the son of a local family of dubious reputation, something they believe is dangerous for both her and her young baby, George and Margaret’s only grandchild. The two set out to rescue the child from the Weboys, headed by matriarch Blanche (Lesley Manville), who has no intention of letting the baby go.
Focus Features’ campaign for the movie, which has a strong 75% Fresh rating on Rotten Tomatoes, has focused especially on the performances from Costner, Lane and Manville.
“Fight for family” says the one poster (by marketing agency AV Print), released in August. George and Margaret take center stage here, their faces shown on one side of the poster looking weathered and determined. On the other half of the poster, the two sides divided by a large shotgun being held by George, we see Lorna with her child in her arms as the two appear to escape a burning house behind them.
George and Margaret, as August’s trailer (5.7 million views on YouTube) opens, are setting out to track down the grandson they barely know after the death of their son and the remarriage of his widow to an abusive man. They’re warned repeatedly that the man they’re after is dangerous, something that applies to his whole family. Their former daughter-in-law is afraid for her life as well as that of her son. Things are going to get violent as they seek to protect both of them against some bad people, but they know it’s the right thing to do and so plow ahead.
Online and Social
The movie’s official website uses Focus Features’ standard format, with items like the trailer, social updates, a synopsis and more linked from the photos and other images that are placed on the page. There were also social profiles created specifically for the film.
Advertising and Promotions
Focus Features originally scheduled the movie for August but pushed it to November amidst continued coronavirus problems and theater closures.
Beginning in the last few weeks of October and running through release (at least), the studio sponsored NPR’s “Morning Edition” to promote the film. Pre-roll ads like this were also placed on YouTube, Hulu and other streaming video platforms.
Other spots were shared that were likely used as TV commercials.
A free screening was held in New York City that included a Q&A with writer/director Thomas Bezucha.
In the last week or two Focus has released a short featurette with interviews with the cast and crew on the set. The setting of 1960s Montana and North Dakota were highlighted in a recent episode of the studio’s “Reel Destinations” YouTube series.
Bezucha created a sponsored Spotify playlist titled “Exploring the New Western” with song choices that either inspired him or which are inspired by the themes of the movie.
Media and Press
Interviews with Lane had her talking about this film and the circumstances surrounding its release, what made her choose this project at this point in her career and what it was like reuniting with Costner after the two played Jonathan and Martha Kent in 2013’s Man of Steel. She also appeared on “Good Morning, America” to talk about the movie.
There have been so many movies and shows in the last 30 years that have called themselves the “new American Western” or something similar, going all the way back to Clint Eastwood’s Unforgiven. The campaign for this movie generally steers clear of such hyperbole, but comes close on occasion, which is a bit more aspirational than is necessary for a movie like this.
Focus Features’ marketing works best here when it’s about the quieter aspects of the film, especially the dynamic between Costner and Lane, who are both such professionals that they play off each other with ease. That’s the real draw of campaign, with the premise and story a solid addition to that core message.