![]() ![]() It stopped becoming a marketing campaign and took on the quality of a movement. Brands wanted to become part of this because they saw the film was finding its way into culture in such a dynamic way. Fashion, frankly, jumped onto the bandwagon. Some of those were licensing deals with Mattel and some are brands that made their own decisions to be part of the color schema of the movie. In fact, we spent responsibly for an event movie.Ĭan you talk about how some of the less-obvious partnerships, like Crocs or Flo from Progressive Insurance, came together? Because it pierced the zeitgeist, it has the impression that we spend so much. That’s a combination of paid media and how many partners came to play with us. ![]() The reason people think we spent so much is that it’s so ubiquitous. Then it did totally take on a life of its own.Ī movie of this scope and scale usually costs $100 million to $150 million to market. Some of the choices we made stimulated that. We believed this brand had the opportunity to generate some exciting earned media. In every campaign, there are elements of earned media and paid media. We saw it as a breadcrumb strategy, where we gave people little elements of the movie to stimulate curiosity and that created conversation. How much of the marketing was manufactured and how much took off organically? It didn’t have its moment it sustained and kept growing and growing with the movie. The concept of Barbie-core coming to life in fashion kept going. We saw it start to resonate in the culture very early in the long process. This movie has a wonderful girl-power element, and pink became the color of the movie. How did you decide to lean into that color palette?īarbie Pink has been such a part of the brand. We started to see the material electrify the culture. About a month later, they were shooting in Santa Monica and we knew people were going to be able to take pictures on the street of Margot and Ryan in their multi-color Dayglow outfits on the beach. It was one of those moments that took on a life of its own. We put out a single image of Barbie in her Corvette in Barbieland. The first electric moment was at CinemaCon in 2022. We had a lot of internal discussions about “What’s the right first piece of material?” and “When is the timing of it? How much of the story should we give away?” Each time we released something, the movie was getting to a new level of engagement in the culture. When did you start to notice the “Barbie” marketing was resonating in a big way? president of global marketing Josh Goldstine spoke to Variety about the buzzy memes, must-have costumes and “Barbenheimer” phenomenon that led to this summer’s very pink smash hit. In wake of its record-breaking debut, Warner Bros. It’s an especially big deal at a time when Tom Cruise and Harrison Ford have struggled to save the box office. With the help of “Oppenheimer,” which debuted to $80.5 million, this weekend boasted the biggest collective box office turnout of the pandemic era, as well as the fourth-biggest in history. “Barbie,” starring Margot Robbie and Ryan Gosling as life-size versions of the popular Mattel dolls, crushed box office expectations with $165 million in North America and a stunning $337 million globally. The efforts of the extensive and expensive marketing campaign - which rival studio executives estimate to cost $150 million, not including the $145 million production budget - are already paying off.
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