Warner Bros. is currently on an incredible streak, consistently beating expectations in a challenging market.
While overall box office numbers lag behind pre-pandemic highs by a significant 23 percent, and even A-list stars and superhero franchises struggle to guarantee success, this studio has defied all odds. For months, they’ve churned out hit after hit, spanning various genres, budgets, and casts.
Their recent triumphs include a diverse slate of films like ‘A Minecraft Movie,’ ‘Sinners,’ ‘Final Destination: Bloodlines,’ ‘F1: The Movie,’ ‘Superman,’ ‘Weapons,’ and ‘The Conjuring: Last Rites.’ This remarkable success has left rival studios in awe and industry analysts scrambling for precedents.
So, what exactly has Warner Bros. uncovered in this challenging cinematic landscape that has eluded the rest of Hollywood?
While the studio acknowledges the talent of its filmmakers and a varied release schedule, much of this success can be attributed to their ingenious marketing strategies. Led by new executives Dana Nussbaum, Christian Davin, and John Stanford, who took the reins in January, the marketing department has launched an innovative playbook. This includes a 24/7 social media ‘war room’ and a significantly expanded role for online influencers.
“Every promotional effort needs to be custom-tailored, and we must adapt rapidly to audience feedback,” explained Ms. Nussbaum. “Today’s audiences move at lightning speed, and our campaigns need to match that pace.”
This weekend marks a crucial test for their strategy with the release of ‘One Battle After Another,’ an R-rated epic from acclaimed director Paul Thomas Anderson. This ambitious film, blending drama, absurdist comedy, and a thrilling chase, carries a production budget of at least $130 million (with some rivals speculating it’s even higher), plus an additional $70 million or more for global marketing.
By all industry standards, this is precisely the kind of movie that shouldn’t thrive in theaters, especially given its substantial investment. ‘One Battle After Another’ is an original concept, not tied to any existing franchise or popular characters. It clocks in at two hours and 50 minutes, with a complex plot and tone that defy easy summarization in trailers or quick taglines. Director Anderson is famously reserved about publicity, and its A-list cast—Leonardo DiCaprio, Sean Penn, Benicio Del Toro, and Regina Hall—are not highly active on social media, adding another layer of challenge.
Furthermore, the film delves into politically charged themes, with Mr. Anderson addressing immigration and white supremacy. These sensitive topics could potentially deter some viewers, particularly those who disagree with the film’s underlying message.
For ‘One Battle After Another’ to be considered a box office triumph for Warner Bros., it will need to gross at least $300 million globally, according to analysts (ticket sales are typically split evenly with theaters). This target dwarfs the career-best of Anderson’s previous film, ‘There Will Be Blood,’ which earned $76 million worldwide in 2007 against a $40 million production and marketing budget.
To captivate audiences, the marketing team is deploying a hybrid advertising approach, blending traditional and digital tactics. Viewers can expect to see commercials on both broadcast television and streaming services, alongside endorsements from both emerging online content creators and established celebrities like Peyton Manning. The studio has even partnered with the immensely popular online game Fortnite, allowing players to embody characters from the film.
Simultaneously, Warner Bros. is leveraging a tried-and-true Hollywood strategy: word-of-mouth screenings. Over the past two weeks, the film has been showcased in Los Angeles, New York, Mexico City, and London, with the cast and director actively participating in Q&A sessions to generate buzz.
“The ultimate strength of this movie has always been its potential for organic word-of-mouth spread,” stated Mr. Davin. “It’s the kind of film that compels audiences to discuss, speculate, and meticulously analyze every detail and aspect they may not have noticed in the promotional material after a screening.”
Warner Bros. has actively highlighted glowing endorsements from filmmaking legends like Spielberg, Iñárritu, and Scorsese. With exceptional reviews, the film is being strongly positioned as a major contender for Best Picture at the Oscars, all while the studio carefully avoids branding it as a niche ‘art film.’
Despite these efforts, the domestic opening weekend in the U.S. and Canada appears subdued. Projections, based on advance ticket sales and audience interest surveys, estimate ‘One Battle After Another’ will generate $20 million to $25 million in ticket sales from Friday to Sunday.
Warner Bros.’ struggle to capture public attention underscores the current, unprecedented challenges facing movie marketing.
A 2024 report from National Research Group, a Hollywood research firm, revealed that only 62 wide releases achieved over 50 percent audience awareness—a near-record low. Industry marketers lament rising costs and diminishing effectiveness in reaching audiences, challenging the misconception that digital advertising is inherently cheaper than traditional methods. For instance, a global TikTok campaign can now exceed the cost of a 30-second NFL commercial.
“Capturing a broad audience has become exceptionally difficult,” noted veteran Hollywood marketing executive Terry Press. “Beyond live sports, broadcast television offers limited reach, and the digital landscape is an overwhelming, noisy void.”
Historically, Warner Bros. was known as a ‘spray and pray’ studio, launching around 20 films annually with massive spending on TV ads, billboards, bus wraps, in-theater promotions, and extravagant premieres. However, the era of simply spending your way to box office glory is definitively over.
“Such traditional thinking is now entirely obsolete,” commented Ms. Nussbaum.
Ms. Nussbaum leads strategy, research, and partnerships; Mr. Davin manages global public relations, digital, and multicultural marketing; and Mr. Stanford directs all creative aspects. This dynamic trio collaborates closely with studio heads Michael De Luca and Pamela Abdy, fostering an environment where fresh perspectives from younger executives are frequently embraced.
Their paramount focus is on actively engaging and interacting with potential moviegoers.
For example, when the initial teaser for 2024’s ‘Minecraft’ film failed to impress fans, the marketing team swiftly re-edited a second trailer. It opened with a playful ‘Take Two’ clapperboard, humorously acknowledging their initial misstep.
Later, upon the movie’s release in May, an unauthorized recording of a scene surfaced online, showing an audience spontaneously throwing popcorn. Instead of the typical Hollywood response of aggressively removing it, the team strategically allowed the video to remain, hoping it would go viral. This unconventional tactic paid off, helping ‘Minecraft’ achieve a remarkable $958 million worldwide gross, much to the dismay of theater cleaning staff.
For ‘Sinners,’ the studio provided influencers with specific film clips, encouraging them to create interactive content that subsequently garnered widespread online attention.
The marketing campaign for ‘One Battle After Another’ strategically highlights the central father-daughter relationship and emphasizes the film’s comedic elements, particularly focusing on Mr. DiCaprio’s aging revolutionary character, who spends most of the movie in a bathrobe.
A recent commercial, broadcast during last week’s Monday Night Football game and online, featured Peyton Manning. In a humorous scene from the film, Manning portrayed an exasperated version of himself, a retired star quarterback, on a mock phone call with Mr. DiCaprio’s character, who was struggling to recall an old password.
Manning, renowned for his ‘Omaha’ pre-snap call, humorously offered his own password solution.
“It was Omaha!” Manning exclaimed after ending the call. “O-ma-ha! So simple!”