Marlow Barkley stars as Nemo in Slumberland, new this week on Netflix. Nemo is a young girl mourning the loss of her father Peter (Kyle Chandler) by escaping in her dreams to the fantasy world of Slumberland, where she hopes she’ll find him. Helping her navigate Slumberland is the outlaw Flip (Jason Momoa) and the two opposites bond as they continue on their journey, each with their own agenda.
Directed by Francis Lawrence and based on the “Little Nemo in Slumberland” comic strip, the movie also stars Chris O’Dowd, Weruche Opia and others. Let’s look at how it’s been sold to the public.
announcement and casting
Netflix announced the film in mid-2020, with members of the cast added to the roster over the next few months. A first look still was revealed in April of 2021, with Netflix saying the film would be out the next year.
Footage from the film was included in Netflix’s 2022 feature film preview.
the marketing campaign
Netflix kicked off the marketing of the movie in August with the release of a teaser trailer (3.5m YouTube views). It starts off with Peter telling Nemo a story about Slumberland. Most of the spot shows Nemo having adventures in that fantasy world with Flip to show off the visuals while not going into the actual story very deeply.
“Every adventure begins with a dream” we’re told on the poster that came out at the same time. It shows Nemo sitting on her bed, with the dream world represented as an upside down reflection of the real world. It’s very beautiful, with an artistic approach taken that is increasingly uncommon on Netflix’s one-sheets lately.
A month later during its TUDUM virtual event an extended clip came out of Flip explaining the rules of surviving in Slumberland to Nemo and therefore the audience.
The official trailer (8.4m YouTube views) was released in early October. As it begins we see Nemo is adjusting to her new life, including going to an actual school, following the passing of her father. Nemo finds herself in Slumberland alongside Flip, who it turns out used to work with Peter. But while Slumberland is a magical place with incredible places and creatures it’s also dangerous, something Nemo finds out as she searches for her father.
Flip and Nemo, along with the stuffed pig that accompanies them, are seen on what looks like a thrill ride on the next poster. The lighthouse where Nemo grew up with her dad is seen in the background
Each of the main characters gets their turn in the spotlight on a series of posters released in early November that look very much like comic book variant covers.
Momoa promoted the movie when he appeared on “Kimmel” last week, though of course he also discussed some of his other projects.
Mattress company Casper partnered with Netflix for a special “in-bed screening” at Casper’s Dreamery in New York City this coming weekend. Everyone could register to join the event virtually, with a sweepstakes also run for those who wanted to share their home setups on Instagram.
It’s a fine campaign and there’s nothing here to argue with or call out specifically, but that’s true in both directions, meaning there’s also nothing particularly special or hugely engaging about what’s being presented. We’ve seen movies about visiting dream worlds and movies about searching the afterlife for lost loved ones before and the marketing from Netflix doesn’t offer much that’s unique about either idea to latch onto.
That’s not to say it’s a bad campaign, just that it presents a movie that seems entirely adequate and probably enjoyable but isn’t going to knock anyone’s socks off, even with Momoa’s larger than life presence.
How Warner Bros. has sold a showdown that has nothing to do with justice dawning.
Hollywood is, if nothing else, certainly an interesting place. Take, for example, this week’s Godzilla vs. Kong, which has a couple things going on.
First, this is the fourth and latest film in Warner Bros.’ MonsterVerse franchise, which started in 2014 with Godzilla, continued in 2017 with Kong: Skull Island and most recently was seen in 2019’s Godzilla: King of the Monsters. It’s notable, though, that GvK was greenlit all the way back in 2015 and moved into production, before Skull Island was released, with the assumption the series would be enormously successful and each installment highly anticipated.
In reality each installment has experienced diminishing returns from the one prior, at least domestically in the U.S. Godzilla’s $200.7m box office has fallen to a mere $110.5 for King of the Monsters. But a ship of this size isn’t easy to stop (though it might get stuck), so we’re just going to keep going because the international box office is still fairly strong.
Second, the movie is being viewed as the latest test of whether the U.S. audience is ready to return to theaters. Originally scheduled for November 2020, it comes this week to both HBO Max and over 90% of U.S. screens, the highest number available since many closed a year ago. While estimates for opening weekend are relatively paltry at less than $30 million, that would still be the most of any film since the Covid-19 pandemic shut most everything down.
So we find ourselves with the two monsters – known in-universe as “Titans” – finally coming face to face. The reasons why aren’t necessarily important, as the title does double duty as a synopsis of the story, such as it is. Kyle Chandler and Millie Bobby Brown return from King of the Monsters, joined this time by Alexander Skarsgård, Rebecca Hall, Kaylee Hottle, Bryan Tyree Henry and others, who will be offering exposition and acting as scale references so we know just how massive the two Titans are.
Warner Bros.’ campaign for the movie, helmed by mumblehorror director and noted fetish porn blogger Adam Wingard, is…well…it’s exactly what you might assume it is given the premise.
The first poster (by marketing agency BOND), came out in January, immediately establishing the campaign’s red and blue color palette while showing Kong standing among the skyscrapers while Kong’s dorsal plates can be seen poking above the ocean surface as he advances toward that same skyline.
Godzilla has made landfall on the second poster (by marketing agency Concept Arts), released toward the end of February, as we see him walking through the city toward Kong.
Another poster from early March has the two Titans facing off like boxers, with a design seemingly inspired by Vegas promotional art, their faces close together and seen within the transparent letters of “Vs.”
We get different perspectives on two posters (by agency Little Giant Studios) that came out just a short while later. One shows Kong from Godzilla’s point of view and the other shows Godzilla from Kong’s, each one again emphasizing their massive size as compared to the buildings they’re walking between and through.
One more theatrical poster hit the red/blue Kong/Godzilla clash one more time, with the two shown to be so tall their heads poke above the clouds.
Exhibitor-specific artwork included one-sheets for IMAX, which has the two monsters falling into one another like this is a 90’s erotic thriller from Paul Verhoven, RealD 3D, which offers a variation on the previous imagery of the Titans lunging at each other, and Dolby, which is a bit more original in showing Kong climbing a skyscraper above the cartoonishly round world below.
A series of teasers were released on social media in advance of the first trailer, which was finally released at the end of January. As it begins, someone is talking about how much humanity needs Kong, who is being transported across the ocean. The threat, it turns out, is Godzilla, but no one knows why he’s attacking. Amid all the subsequent fighting it’s revealed this may not be the first time the two – and others like them – have faced off.
A second, shorter trailer came out in mid-February. Whatever story there was in the first spot, it’s excised in this one as it cuts straight to the action as Kong and Godzilla punch each other and rampage through cities, destroying countless buildings as they do so.
Online and Social
There’s not much on the movie’s official website, but you will find a few trailers as well as details on how to watch the film in the way of your choosing, assuming you either subscribe to HBO Max or live near one of the theaters it’s playing at.
AR lenses for Snapchat, Instagram and Facebook allowed people to put themselves in the middle of the showdown between the two titans.
I have to hand it to the WB team on Twitter, which seemingly had the latitude to share fan memes and other fun content via the official account. That’s made scrolling through the account’s updates a lot more interesting as it is less about amplifying only adoration and praise and more about reflecting how the internet really reacts to things. A similar attitude can be found the movie’s official Giphy channel, which has not only straight GIFs but also a bunch of goofier, meme versions.
They even shared an image from a *very* current meme and got onto the NFT bandwagon with exclusive artwork available there.
While the movie was initially scheduled to open in early 2020, less than a year after King of the Monsters, that title’s lackluster performance at the box office had Warner Bros. pushing this one back to later in the year to tighten things up and perhaps even do some more drastic reworking. Despite that delay, the movie was among those included in the studio’s CineEurope presentation to exhibitors in June of 2109. Another delay moved it from March to November 2020 before the Covid-19 pandemic pushed it even farther out to May, 2021.
Rumors last December that Legendary was shopping the film to Netflix or other streaming services came and went but were followed by WB’s official announcement that it like the rest of their 2021 slate would be released to both theaters and HBO Max. Legendary was none too thrilled, threatening some sort of action.
One of the first, albeit very brief, looks at the movie came via an HBO Max promo touting the same day theatrical/streaming availability of WB’s 2021 lineup.
The release date was later moved up to March, 2021.
Short promospots were released online in the build up to the movie’s debut.
Warner Bros. signed a deal with exhibition company CineWorld that would make this movie the first to play in CineWorld’s reopening Regal Cinemas.
Featurettes released in the lead-up to release included one that had the cast and crew introducing the idea of #TeamKong vs. #TeamGodzilla and talking about the scale of the action. That match-up was extended to social media, where people were asked to choose sides. Later on a map of the U.S. was shared showing how the majority of people in each state had voted.
More TV spots started coming out just in the last couple weeks and, like this one, largely played like cut-down versions of the trailers, working to set up the conflict. Longer spots went a bit more in-depth, but still focused on the big action of the story.
An IMAX-specific spot was pretty short but got the point across that people should see this huge movie on a huge screen. RealD 3D got a similar promo. For its part, Dolby shared a handful of interviews with the cast talking about the story and their characters.
Promotional partners for the movie included:
Snickers, which released a spot tying into the Kong vs. Godzilla fan voting.
Roblox, which hosted a movie-themed event in the popular virtual world where players could unlock exclusive rewards.
Legendary also announced a handful of publishing tie-ins just a bit before the movie came out.
Warner Bros. sponsored a TikTok challenge that involved a number of influencers on that platform.
A handful of longer featurettes, originally released on home video editions of the previous movies, were published by WB to YouTube over the last several weeks as a way of making sure the audience was familiar with what had come before. Those included:
Landscape artwork acted as both online ads and likely were used for outdoor ads also.
Media and Publicity
Bichir was interviewed about the movie, saying he enjoys the freedom to take different kinds of parts in movies of various sizes.
An interview with Wingard had the director talking about creating the massive monster battles and more of the action that everyone hopes fans are looking for. Another had him sharing the kinds of showdowns he envisioned and how he wanted to pattern the action after some of his favorite ‘80s action movies.
There’s a great deal that’s very good about the campaign, even when you overlook how it’s supporting a movie that, based on the shrinking box-office returns for the previous films, may not have a huge audience pool to pull from. It has a very nice visual brand that’s consistent from start to finish and it sells a simple message over and over again, counting on repetition being key to both engagement and interest.
When it comes down to it, that simple message is best summed up in a single GIF that, despite the lack of hyperbole or any other pitch, shows exactly what Warner Bros. hopes the audience will either come out to theaters for or use their parents’ HBO Max login to watch.
How Netflix has sold a story of isolation and desperation.
The new movie The Midnight Sky probably wasn’t intended to be as timely as it has wound up becoming. Based on the book “Good Morning, Midnight” by Lily Brooks-Dalton, the film stars George Clooney, who also directed, as Augustine, a scientist in the Arctic who has survived a global pandemic that wiped out much of the world’s population. He’s engaged in a desperate attempt to communicate with the crew of Æther, a ship returning from a mission to a potentially habitable moon of Jupiter who are unaware of the danger that awaits them back on Earth. Sending that message is difficult, though, forming much of the movie’s drama.
Also starring in the film are Caoilinn Springall as Iris, a young girl who encounters Augustine in his Arctic isolation, and Felicity Jones, Kyle Chandler, David Oyelowo, Tiffany Boone and Demián Bichir as the members of Æther.
Initial reviews were middling, calling it a bit muddled, a reception reflected in its 55% rating on Rotten Tomatoes. Still, there was at least some feeling it could result in a bit of awardsspeculation, especially for Clooney. And Netflix has given it a campaign that not only seems Oscar-ready but is also far too relevant to today’s world.
Augustine stares into the sky, which is also shown inside the frame of his head, on the first poster (by marketing agency P+A), released at the end of October. It’s a simple but suitably atmospheric image, especially with the copy reading “There’s a universe between all of us.”
On the final poster (by marketing agency Concept Arts), which came out earlier in December, that copy is removed and replaced with the more vague “Hope finds a way,” which isn’t quite as effective. This time, though, the main image shows both Augustine and Iris in the arctic environment they attempt to traverse. A massive planet hangs in the sky above them, hinting at the story’s connection to space travel.
The first trailer (2.2 million views on YouTube) – teased ahead of release and promoted during a late-October edition of “Monday Night Football” – opens by showing that communication is not happening in either direction. Augustine can’t reach the crew of the Ether and they haven’t heard from Mission Control in weeks. He’s trying to warn of a cataclysmic event that’s happened on Earth while they were in deep space. From there we see he and the young girl with him try to reach a more powerful antenna while those aboard the Ether recount what’s happened on their long journey. Time is running short for both parties, though, making the stakes higher with each passing moment.
The final trailer (1.2 million views on YouTube) came out in early December, starting off by showing Augustine explaining to Iris what all is in his lab and what he’s trying to do. Their journey on Earth is shown alongside the crew of the Æther and their attempts to reach someone – anyone – on Earth as they get closer and closer to returning. It’s all very dramatic, with snowstorms and meteor showers and more, making the film look like an enjoyable piece of drama.
Online and Social
No website about the actual movie, but Netflix, in addition to supporting the film on brand social channels, created the-midnightsky.com. On that site you can record and send a message to someone, which is then played as an AR hologram placed in the room they’re standing in.
Advertising and Promotions
Netflix celebrated the end of principle photography in February, announcing the movie was coming later in the year. In September news came that Clooney would speak about this film and more during October’s 64th BFI London Film Festival.
A recent installment of Netflix’s “Bucket of Movies” had Clooney sharing his thoughts on various classic film titles. He also reminisced about his career path and the roles that contributed to that career.
Media and Press
Clooney was interviewed about the movie and how he approached directing it in an article that also included some first look stills. Another brief interview with Clooney had a few more story details and more.
A feature profile of Jones had her talking about filming the movie, including how Clooney made adjustments to the production to accommodate her pregnancy mid-filming.
Another interview with Clooney had him talking about the story of the film and finishing the project during quarantine. He and Springall both spoke on the experience of filming in Iceland, dealing with the subsequent isolation and lots more. In additional interviews Clooney also covered the challenges of directing, especially the space sequences, working with Springall and more. With composer Alexandre Desplat he talked about creating the score, especially during the recent shutdowns, and how it adds to the emotional messages of the film.
Late night talk show appearances included Clooney and Chandler on “Kimmel,” Clooney on “The Late Show” and elsewhere.
How Clooney and the rest of his team handled both the extreme conditions during production and the challenges of the post-production situation was covered in a lengthy feature just recently.
While, as stated, the reviews haven’t been wholly positive there’s a good story being sold here, albeit one that seems to mash up a handful of movies we’ve seen before. Even more than that, what the audience is being presented here is a strong solo outing from Clooney, who have a solid track record both in front of and behind the camera.
With the focus, particularly in the press interviews, on how post-production was handled in isolation a nice hook that’s relevant to the film was offered, one that everyone seized. That helps make the story, despite those reviews, something that may benefit from the fact we’ve all felt like we’re stuck on our own in a desolate arctic outpost for months, even if we don’t live in Green Bay.
Picking Up The Spare
Why Clooney had a specific vision for the film’s ending was covered in another interview with the actor/director. There was also an additional profile of Clooney that touched on this movie and lots more.
Jones later looked back on filming the movie while pregnant and how she felt the final scene resonated.
The movie’s cinematographer spoke about working with Clooney and shooting in some remote and harsh location, with the production designer talking about similar topics.
For a movie with a shared universe about a host of giant monsters that fly and breathe blue fire, the official website is somewhat underwhelming, with just the usual marketing content – trailers, synopsis, gallery etc – available in addition to a list of promotional partners.
Media and Publicity
EW shared the first photo from the film just before San Diego Comic-Con 2018, showing Godzilla violently exhaling along with comments from director Michael Dougherty about the scale and scope of the story. Another photo was released at the same time the Monarch Sciences campaign (detailed below) kicked off and Brown talked about the fictional monsters she’s already faced off against in her brief career.
New images like this were released every now and again to keep anticipation levels high.
Wingard revealed at the end of April that production had already wrapped on the next movie, Godzilla vs Kong. The timing seems to indicate that promising the audience there was something else coming was important to sell this current movie as being just one part of a bigger story and therefore worth the investment of their time and money.
EW debuted an image of Godzilla considering the help being offered by humans.
Brown was the focus of much of the publicity for the film, with interviews like this about her taking on a blockbuster as her first major film role and appearances on late night TV. Most interviews, as is the case here, covered this movie as well as her role on “Stranger Things,” the third season of which was scheduled for about the same time.