How Timothée Chalamet is becoming the future of movie marketing
“Marty Supreme, Christmas Day. Marty Supreme, Christmas Day,” repeats Timothée Chalamet in an eighteen minute video of a faux marketing meeting that he posted to his Instagram on November 17th. Presumed members of his team joined a zoom and sat through Chalamet’s dead-pan soliloquy about his dreams for the strategic promotion for his new film, one being an orange blimp flying around Los Angeles and his face appearing on a Wheaties cereal box (both of which have since come true).
Marty Supreme, Josh Safdie’s new film about a fictional ping-pong pro, marks the third film in a row starring Chalamet that has been released on Christmas day. Last year was the Bob Dylan biopic, A Complete Unknown. The previous year was Wonka. It’s starting to feel almost as if the winter season is incomplete without Chalamet’s nervy yet confident energy dominating media and film discussions.
Chalamet has become one of the last true modern “movie-stars.” He has cemented himself as an indie darling in Call Me By Your Name, Lady Bird, Bones and All as well as leading a huge franchise in Dune to billion-dollar success. Last year, he received critical acclaim for his performance as Bob Dylan in A Complete Unknown, earning him his second Academy Award nomination. The movie endured a generational press run, featuring him attending his own lookalike competition in Washington Square Park and being the host and musical guest on Saturday Night Live, performing some lesser known Dylan songs. The film grossed $139 million worldwide, a respectable number considering the fact that the film follows a musical legend from the 1960s – not exactly the formula for a box office smash.
Chalamet’s ability to galvanize his large fanbase into theaters is an impressive feat. Many other actors, directors, and film professionals have been trying their hardest to keep the theatrical experience alive. However, this goal is a tough mountain to climb.
During the COVID-19 pandemic, studios resorted to taking their movies out of theaters quicker and releasing them on VOD and onto streaming platforms (in some cases, opting for a day-and-date release where they open films in theaters and on streaming on the same day). These shifts in film distribution and our shortening attention spans due to the rise of social media have made it more difficult than ever for executives to get audiences to watch their films in theaters. But now we are seeing film promotion get more creative than ever, as they try to capture our attention.
One of the most notable events recently has been a screening for Yorgos Lanthamos’ Bugonia in Los Angeles. The film stars Emma Stone, whose head gets shaved early into the film,under the pretense that she is an alien. The screening allowed admission for only bald filmgoers or people willing to shave their head at the door. Obviously, this absurd concept gained lots of traction online.
The film became the third highest grossing film in Lanthimos’ career, earning about $33 million worldwide. However, despite critical praise, Bugonia rapidly declined in sales after initial release, similar to most recent films.
While developing creative marketing strategies has long been integral to film releases, they are needed now more than ever. Social media plays a key factor in gaining an audience for film and creates an expansive, yet overwhelming landscape of opportunities for promotion.
Also, the theatrical experience is more directly under threat due to the announcement of Netflix’s $72 billion bid to buy Warner Bros, which Paramount followed with a hostile bid of $108 billion. Warner Bros.’ library includes some of the most iconic titles and theatrical events in film such as Harry Potter, DC, and The Lord of the Rings. While we won’t know the outcome of the bidding war for at least another year, the winning company will massively dictate what kinds of films get made. Because the structure of the industry is rapidly changing, marketing tactics must adapt.
In recent years, social platforms like Letterboxd and AMC Theatres’ premium “A-List” subscription have tightened the film community. Spaces like “film-tok,” “film twitter,” and the rise of many movie podcasts have moved conversations around new releases and awards season online. Now, there is an almost “cult-like” community of movie lovers on these platforms, doing their best to keep theatrical experiences and film discourse alive. Chalamet has benefited greatly from online discussion (e.g. Club Chalamet) and is clearly trying to harness these advantages to promote his new work. While the future of the movie-going experience is uncertain, it seems that Timothée Chalamet and his unique marketing strategies are trying to reign it under his control.
