the french dispatch – marketing recap

How Searchlight Pictures has sold a symmetrical literary movie from a symmetrical literary filmmaker.

The French Dispatch poster

There’s been a startling – and disappointing – lack of hot takes about how The French Dispatch is opening the same weekend as Dune means a showdown between two filmmakers who, unlike many assigned that title by studio marketing departments, can truly be called visionary. Dune’s Denis Villeneuve creates stark, massively scaled backdrops for the characters to perform within, while Wes Anderson is known for creating detailed, symmetrical dollhouse rooms that are just as quirky and slightly dingy as the characters inhabiting them.

(Both of those movies also star Timothée Chalamet, which in and of itself is…wow…)

Anderson’s films have always carried highly literary themes. Playwrights abound in his films and characters are always journaling, sending cables or handwritten letters or writing books about their experiences. Now he brings those themes to the fore with what’s been described by him and others as “a love letter” to journalists and magazine writers.

At the center of the story is The French Dispatch, a magazine modeled after The New Yorker. Edited by Arthur Howitzer Jr. (Bill Murray), the periodical has a number of writers, illustrators, photographers and writers, each of whom are followed in their own sub-stories. Playing those contributors are Anderson regulars like Owen Wilson, Jason Schwartzman, Angelica Huston, Edward Norton and others, with Elisabeth Moss, Léa Seydoux, Timothée Chalamet and others joining in the highly-stylized hijinks as well.

announcements and casting

Initial news about the movie came in mid-2018, with initial reports saying Anderson was developing a musical comedy set in France. The casting of Tilda Swinton and Mathieu Amalric was announced at that time with most of the rest of the principle cast joining in the last months of 2018.

Plot details were revealed in September 2019 at the same time Fox Searchlight announced it had acquired the film. A few months later in January 2020 a release date in July of that year was announced.

the first try at marketing

In February 2020 the first set of exclusive photos debuted in, of all places, The New Yorker.

The poster released at that time is so on-brand for an Anderson film it hurts a little. Illustrated by Spanish artist Javi Aznarez (whose work is seen in the movie as well), it displays the offices of the titular magazine as quirky drawings, the faux French city it’s based in seen in the background. Each of the top-billed cast is shown and named here.

The first trailer (5.5m YouTube views) came out at that time as well. It starts by introducing us to Arthur Howitzer Jr. and his publication, The French Dispatch, intended to share stories of interest about politics, culture and more. After briefly meeting some of the people who work at the Dispatch the trailer shifts to showing us the three stories being covered by the magazine and which the movie will follow. What’s shown is an assortment of dry wit, colorful quirkiness and odd characterizations that are part and parcel in Anderson’s work and therefore immediately attractive to anyone who’s a fan of the filmmaker’s.

While reports abounded that the movie would premiere at the 2020 Cannes Film Festival that wound up not happening because the festival itself didn’t happen save for a scaled-back virtual event.

Cinematographer Robert Yeoman was interviewed about the books and movies Anderson put together as a reference library for the cast and crew to use.

There was a feature profile of Chalamet in October 2020 that covered the actor’s role in this film as well as his rise to stardom over the last few years, including comments from Anderson.

At this point Disney/Searchlight pulled the movie from its release schedule for the time being while the pandemic continued to cause uncertainty and delays across the board.

a second attempt at marketing

Things picked back up in May of this year when a new release date was announced along with the news it had been selected to screen at both the Cannes Film Festival and New York Film Festival

Details on the film’s soundtracks, always a highlight of Anderson’s work, were released in early June.

During the Cannes press cycle, which included the cast arriving to the screening in a party bus, Wilson was interviewed about his decades-long collaboration with Anderson and how original he feels this latest movie is. That cycle also produced a much-circulated meme using a photo of Anderson and the three primary leads.

A clip was released at the same time showing Zeffirelli soliciting feedback on his manifesto.

Costar Henry Winkler, a newcomer to the Anderson troupe, spoke about the movie on “Late Night” in July.

In early August Searchlight revealed fans could sign up to receive an actual issue of the titular newsletter, with a video promoting the newsletter released showing the cast flipping through it and reacting to its contents.

August also brought a new poster, this one showing the massive cast assembled via obviously cut-out photos pasted together into a collage.

A number of short videos came out around that time that each focused on stories for the paper being filed by the various reporters and writers. There were videos from Sazerac, Berensen, Krementz and Wright.

Anderson begins a featurette by explaining just exactly what the movie is and what format it takes. Murray, Wilson and others from the cast also appear to introduce their characters and offer insights into what those characters add to the story.

The producers and production designers were profiled here about how they went about creating that signature Anderson look of symmetry and scale.

A set of character posters all featured those characters standing or sitting in a pose that hints at who they are and what they do, with the design background helping to communicate their actual background.

An Anderson-directed video for “Aline” came out toward the end of September to keep things going and hint at what the rest of the soundtrack would sound like.

New York’s MoMA held a screening of all 10 of Anderson’s films, including this one, over 10 consecutive nights at the beginning of October.

How the set designers, costumers and others created the world of the movie was covered in this profile of the technical aspects of production.

Murray and others appeared at the BFI London Film Fest screening of the movie earlier this month. The same kind of pop-up cafe experience was also staged in London around this time. The film also screened at the Chicago International Film Festival.

A featurette that focused on the eclectic and impressive cast was released last week. Another had that cast talking about bonding on set and how Anderson creates a family-like atmosphere during filming.

TV spots like this finally started running just days before the film’s release, selling little about the story but instead communicating both the cast and the very Anderson-like tone and look.

Also in New York City, Searchlight launched another pop-up cafe experience where visitors could come by and immerse themselves in a small bit of the film’s world.

overall

If a Wes Anderson movie campaign communicates that it’s for a Wes Anderson movie and contains all the necessary elements – dry line delivery, balanced imagery, clever illustrations, unique use of aspect ratios etc – then it can objectively be considered successful. After all, this is not going to bring in many converts. Instead it’s meant to speak primarily to Anderson die-hards who are already on board with the director’s style.

Wes Anderson Applause GIF by Searchlight Pictures - Find & Share on GIPHY

Hold the Dark – Marketing Recap

hold the dark posterIn the Netflix-original film Hold the Dark, premiering this week, Jeffrey Wright plays Russell Core, a writer and expert on all things wolves who’s been summoned to a small Alaskan town. He’s been brought there by the mother of a young boy who was killed by a pack of wolves that’s been menacing the area in the hopes he can provide some answers.

Core’s investigation is one not everyone in the town is welcoming, though, and he finds himself stymied at many turns. Things get even more complicated when the boy’s father returns home from military service overseas and takes his son’s death very badly. All that means Core has to fight for his own survival and sanity.

The Posters

Core stands in the forefront of the poster, the snowy mountain behind him giving off dangerous and ominous vibes. Those are amplified by the lone figure standing in the background wearing some sort of animal mask and looking like he’s hunting Core, not the other way around.

The Trailers

The first trailer starts out with a woman narrating the letter she’s sent Core, pleading with him to come hunt the wolves who have taken her son when everyone else has refused. When he starts looking around he gets more than he bargained for as people are reluctant to talk to him, threaten him and more. Basically, it may not have been wolves who are responsible and no one would like him to prove that point.

Online and Social

Nothing unique to the film here, just some promotion on Netflix’s brand channels.

Advertising and Cross-Promotions

Pre-roll ads ran on YouTube that used short versions of the trailer to drive traffic to Netflix’s site. Key art was also used for other online ads.

Media and Publicity

After it was acquired by Netflix the movie was among those expected to make its debut at Cannes but then it was caught up in the dispute between that festival and the streaming company, with director Saulnier expressing some strong opinions about anyone who feels Netflix movies aren’t actually “movies.” Saulnier later spoke about the shoot with Skarsgard alongside a first look photo from the movie.

Around that same time it was named as an addition to the Toronto Film Festival, where the director and cast were interviewed about the story, what had to be left on the cutting room floor and more.

Saulnier talked with IndieWire about what he wanted to do with this movie and how he viewed it as an opportunity to stretch himself a bit.

More positive buzz for the film was generated when it screened at Fantastic Fest, which made sense given that event’s propensity for darker, more twisted storytelling.

Overall

Given the love that was generated for Saulnier after his previous feature Green Room (which is excellent) and his role in directing HBO’s “True Detective,” it’s not surprising much of the press focused on him. He really was the public face of the movie in a way not many newer directors are these days.

What the campaign, especially that press push, sells is a move by Netflix into more serious genre fare. It already owns the “mid-grade sci-fi you half-watch while reading RSS” category, but by embracing Saulnier and his vision, it wants to position itself as a place for serious horror dramas. That’s why it brought the movie not only to TIFF but also Fantastic Fest, where critics who love that type of movie were going to see it and hopefully boost its profile. Add in a little paid advertising and it’s a pretty good push.

Picking Up the Spare

Jeffery Wright talks about the emotional toll imposed by filming the movie in such remote locations and harsh climates, not to mention the difficult subject matter.

Alexander Skarsgard says he went low-level creeper on director Jeremy Saulnier in order to get the role in this movie.

More from director Jeremy Saulnier here on the story, setting and characters.