Godzilla vs. Kong – Marketing Recap

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.

Angry Mad As Hell GIF by HBO Max - Find & Share on GIPHY

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 Posters

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.

The Trailers

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.

Youre Too Cute King Kong GIF by Godzilla vs. Kong - Find & Share on GIPHY

They even shared an image from a *very* current meme and got onto the NFT bandwagon with exclusive artwork available there.

Advertising and Cross-Promotions

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 promo spots 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.

Overall

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.

Fight Punch GIF by Godzilla vs. Kong - Find & Share on GIPHY

Enola Holmes – Marketing Recap

How Netflix has sold a quirky addition to the Sherlock Holmes franchise.

There have been countless adaptations and updates to Sir Arthur Conan Doyle’s Sherlock Holmes over the years. Most recently, Warner Bros. put to movies in theaters with Robert Downey Jr. and Jude Law playing Holmes and Watson, respectively. On TV, the BBC’s “Sherlock” brought the character into the modern era and was itself adapted for U.S. audiences in the form of “Elementary.”

Enola Holmes, out today on Netflix and based on a series of books by author Nancy Springer, puts Sherlock (Henry Cavill) and his brother Mycroft (Sam Claflin) in supporting roles while their younger sister Enola (Millie Bobby Brown) takes the lead. On Enola’s 16th birthday their mother (Helena Bonham Carter) suddenly disappears, with Enola left behind to piece together whatever clues there might be in an attempt to find her. Her brothers want her to follow a more traditional path for a 18th century young lady and go to finishing school, but Enola is determined to keep going, even when she winds up becoming entangled in a much larger mystery in London.

Though the story’s setting is in-line with the original stories, the marketing campaign from Netflix has definitely taken a more modern, irreverent approach.

The Posters

The first and primary poster (by marketing agency Concept Arts) came out in August and sets the tone of the film very well with Victorian dresses and suits mixed with bright colors and a title treatment that looks like it was put together with text ripped from magazines.

A series of colorful, slightly pulpy character posters came out just last week, all featuring the same title treatment with each individual placed against a different landmark, location or building that’s featured in the story.

The Trailers

The trailer (7.3 million views on YouTube), released in late August, sells a movie that’s as fun and mischievous as it is filled with mystery. Enola is, we see, completely devoted to her mother, with whom she has a special bond. When she disappears, Enola enlists the aid of her two older brothers to help track her down, but their attempts to civilize Enola aren’t enough for the girl’s spirit. She sets out on her own to find their mother, proving she’s more than capable of holding her own no matter what society expected of most young women at the time.

Online and Social

No stand-alone site for the movie but it has received plenty of support on Netflix’s various brand social channels.

Advertising and Promotions

In production from Legendary, Netflix acquired rights to the movie in April.

Unfortunately a few months later the estate of Sir Arthur Conan Doyal filed a lawsuit claiming the story violated their copyright on the characters depicted, something it has attempted previously with limited success.

In the weeks leading up to release Netflix put out a number of promotional videos and featurettes. That included the cast explaining the characters and story, Brown reading excerpts from one of the books, an overview of Victorian-era slang and a behind-the-scenes look at the making of the film that also offers an introduction to the character of Enola and her world.

There was also a more traditional TV spot-esque promo showing how Enola keeps one-upping her famous brothers and refusing to fall into what’s deemed to be her place.

Media and Press

The focus here has been largely on Brown, which makes sense given not only her lead role here but also her popularity on “Stranger Things.” That focus has included a profile on how she got ready for the period role and a joint interview with director Harry Bradbeer about exploring the character and making an action movie with a young woman at the core.

Overall

The campaign is just a lot of fun. With Enola breaking the fourth wall to share her thoughts and frustrations with the audience, her attempts to break away from the path her brothers and society would like her to follow and her determination to find her mother, a great sense of humor and attitude permeates the various marketing assets on display here.

The trailer is great, but the posters are also very important in establishing the movie’s brand for the audience. How the designs evoke the poppiest of pop culture, reminiscent of movies like Sofia Coppola’s Marie Antoinette, which had the same attitude on display.

More than all that, it’s a chance for Brown to really breakout from her breakout role and show the kind of range she’s capable of.

Picking Up The Spare

Lots more on Brown and how well she fit into the title role. 

There was also a profile of the movie’s production team and how they achieved the story’s look and feel. 

Quite a few new featurettes have also come out, including ones about the twists of the story, the stunts and a key fight sequence. Along with those were a couple more lighthearted videos. And a blooper reel seemed to round things out.

Brown appeared on “The Tonight Show” to talk about the movie and more.