A simple formula for filmmakers:
- Make great movies
- Promote with wide inclusion — for everybody — instead of exclusion
#1 cannot be understated: make great movies, make great movies, make great movies. I wish every filmmaker, regardless of sex, understood this. If your movie is great a lot of other sins can be overlooked. The cream rises…
By converse, focusing on #2 first and being exclusionary — promoting to a specific segment of the market — leads to, at best, niche results. Focusing more/primarily on agendas and messages instead of making a great movie you hope every moviegoer will love is a recipe for FAILURE. Plenty of evidence of this around, recently in fact.
Can you tell I’m just loving the Wonder Woman 1984 promotion so far? Yes!
Is it time to start promoting Wonder Woman 3 and a spinoff on the Amazonians? Sure, why not.
“We actually already know the whole story to [Wonder Woman 3] and then some because there is an Amazon [spin-off] movie, as well, and so we already have it all mapped out,” Jenkins told reporters from multiple media outlets, including Collider and Deadline. “It’s just a matter of will we change our minds and when.”Wonder Woman 3, Amazons spinoff mapped out, director Patty Jenkins says | EW.com
I’m totally stoked to see Wonder Woman 1984 [FIRST LOOK]. It’s a 10/10 for anticipation, the film I’m most looking forward to seeing in 2020 right now. Yes, more than James Bond 25: No Time To Die [FIRST LOOK], Fantasy Island [FIRST LOOK], Coming 2 America and the half dozen or so other appealing titles coming in 2020.
Isn’t this what the women empowerment camp wants? Men being excited about films about/by women? We are!
Other Films Directed By Women
Yesterday, coincidentally it seemed, I came across a handy list on the cool-titled Assholes Watching Blog of female-directed movies:
Hint: this should be turned into a clonable Letterboxd list (or has somebody done that already? Link please in comments, if/when so.). Here is an example of $1 billion dollar movies in a list that can be cloned and shared. This way others can quickly and easily share and compare what movies they’ve already seen and which movies they need to add to their respective watchlists.
Fortunately, another Letterboxd user named Vanessa has already made a list of all films directed by women (including co-directors and transgender). It’s a massive list of 5,550 films of which I’ve reviewed an abysmal total of 15 😦 I’m sure I’ve actually watched many more, just have to get them added at some point. So far, everything on Letterboxed has been rewatched or watched for the first time since August 12, 2019, so my list of movies shown as watches is very incomplete.
Vanessa also offers a smaller list of 170 movies for those overwhelmed by the mega list and has made a bunch of other women in film lists worth perusal.
Now, let’s get back to the topic of better marketing films created by women. I think marketing by men or women to only one or the other is a huge mistake and covered that in greater detail with comparisons in: How To Better Promote Your Next Films, Tim Miller and Elizabeth Banks.
Charlie’s Angels (2019) Woulda, Shoulda, Coulda
Unlike Charlie’s Angels ⭐️½, Wonder Woman 1984 is the marketing template for how movies should be promoted involving strong women. As a man, I don’t feel left out or alienated. I’m inspired and encouraged to go see a kick ass movie about women kicking ass. I hope the film does even more sales than Joker. We’ll find out in June 2020
The first trailer is great and surely the inevitable second trailer that comes closer to June 2020 will fill in more plot details (hopefully not too many, though, I don’t care for trailers that tell me too much about the movie).
Gal Gadot is not only gorgeous, she’s intelligent and smart and everything about her in this trailer and her interviews just increases and amplifies my interest in the film.
Who wouldn’t like her to wrap you in the golden lasso and force you to tell the truth? Or ride in the invisible airplane? (looks like Steve Trevor and her are doing just that in the trailer). She’s a truly dominant woman that doesn’t make men — at least this man, anyway – feel it’s all being done unrealistically and/or as part of some agenda or cause. Wonder Woman is a real character to me being real in a story.
Charlie’s Angels (2019), by contrast, were three – four if you count Banks as one of many Bosleys — fakes. They were doing a bunch of fake crap, looking good doing it sure, but not divesting the viewer (at least this male reviewer anyway) in real roles. I believed the original TV series Charlie’s Angels far more than the 2019 Charlie’s Angels. Heck, give us Barrymore, Liu and Diaz in the 2000ish first reboot for more female character realism. At least we knew they were playing on the original characters. In Banks’ update the soul of the original TV series was lost. Add to that all the SJW and unnecessary woke marketing nonsense and it just put a real bad taste in my mouth before watching one second of the film.
Box office returns would indicate that this opinion was shared by others.
A similar thing has happened with The Incredible Hulk reboots. By taking out the human being — the great Lou Ferrigno – and making Hulk all CGI the soul of the character was gone. Also, pretty tough for anybody, even Edward Norton, to match Bill Bixby’s portrayal as the tortured Dr. David Banner, but that’s a whole other enchilada.
Wonder Woman 1984 is being marketed with the soul of the original comic book character and the awesome screen adaptation by Lynda Carter respected. Everybody will get on board for this marketing plan.
Kudos to everybody responsible for marketing Wonder Woman, from director Patty Jenkins to Gal Gadot and every other other person on the team — women and men.
I sincerely hope more films featuring women are marketed similarly.