Paramount Pictures waves the flag for 'G.I. Joe'
Kris Connor / Getty Images
Actors Rachel Nichols and Marlon Wayans ride on a Humvee during the homeland movie premiere for “G.I. Joe: The Rise of Cobra” at Andrews Air Force Base in Maryland, home of Air Force One.
In a highly atypical marketing campaign, the studio sidesteps the traditional Hollywood showcase in favor of taking the film directly to America's heartland.
Nearly 1,000 service members and their families at Andrews Air Force Base in Maryland got to see something Friday night that very few people in Hollywood have seen -- "G.I. Joe: The Rise of Cobra," the last big-budget action movie of the summer.
Paramount Pictures gave the movie its homeland premiere at the base for Air Force One, flying out its stars Channing Tatum, Sienna Miller and Marlon Wayans for a helicopter tour, meetings with the base commander and airmen, and a red carpet replete with paparazzi and billowing American flags.
Launching the film to a military audience is just one part of a highly atypical marketing and publicity campaign for "G.I. Joe," which opens nationwide and in most foreign markets this Friday. Paramount is sidestepping the traditional Hollywood showcase and courting of the national print media in favor of taking the picture directly to America's heartland.
Paramount's decision to focus so heavily on just one segment of the audience illustrates -- in a market increasingly fragmented by demographics and swayed by word of mouth via Twitter, text messages and Facebook updates -- the lengths to which studios will go to maximize early exposure among audiences most likely to embrace a film and minimize it for everyone else.
"Our starting point for this movie is not Hollywood and Manhattan but rather mid-America," Paramount Vice Chairman Rob Moore said. "There are a group of people we think are going to respond to the movie who are normally not the first priority. But we're making them a priority."
Yet overseas, where big action films often earn 60% or more of their ticket sales, rah-rah American sentiment doesn't play well. So those references have vanished from the advertising.
European marketing, rather, focuses on action sequences set in Paris -- where the Eiffel Tower collapses -- Egypt and Tokyo, and emphasizes that G.I. Joe is an international team of crack operatives and not some Yankee soldier.
When it comes to selling "G.I. Joe" outside the U.S., the message is "this is not a George Bush movie -- it's an Obama world," director Stephen Sommers said. "Right from the writing stage we said to ourselves, this can't be about beefy guys on steroids who all met each other in the Vietnam War, but an elite organization that's made up of the best of the best from around the world."
Sommers even expects "G.I. Joe" to perform better overseas, particularly in Asia, where costar Byung-hun Lee, a Korean-born martial arts expert, is very popular.
"It was like traveling with Elvis," said the director, who accompanied the actor to a premiere in Tokyo.
G.I. Joe originated in 1964 as a military action figure that could be equipped with various uniforms and weapons. In the 1980s it was reborn in comic books, a TV cartoon and toys, with the tag line "A Real American Hero," as a special military unit of the U.S. government that does battle with an evil organization known as Cobra.
The new film, which will be accompanied by a revamped toy line from Hasbro Inc., features many of the characters from the '80s, but in a futuristic setting.
With a production budget of $175 million and $150 million more in marketing and distribution expenses on the line, "G.I. Joe" needs the biggest possible crowds to turn a profit.
Although "G.I. Joe" has had some of the hallmarks of big-movie event marketing -- a costly Super Bowl ad, billboards and banners on the side of buses in Los Angeles and other big cities -- a disproportionate amount of resources is being funneled into highly targeted efforts.
Paramount bought ads in newspapers distributed on more than 60 military bases, for instance, and ran a "hometown hero" contest in which entrants wrote essays about a local hero they wanted to celebrate with a screening of the movie. The winner was a 7-year-old from San Diego whose father served with the Navy in Iraq.
One week before its release, virtually no journalists had seen "G.I. Joe" except for Harry Knowles, owner of influential fanboy website Aint-It-Cool-News, who gave the movie an early thumbs up.
Beyond Knowles, however, Paramount has largely avoided what would seem like a natural starting point: loyal fans of the toys, comics and '80s cartoon. "G.I. Joe" had no presence at the recent Comic-Con International gathering of genre fanatics, even though there were panels to discuss both the toys and comic books.
"You can never win with those guys," Lorenzo Di Bonaventura, producer of both "Transformers" films and "G.I. Joe," said of the San Diego convention. "They feel they're the keepers of the fanboys flag and have a deep childhood association with many of these properties. And we know the hard-core fans are already coming to see the movie."
That attitude has left some of the most devoted G.I. Joe fans, the type who typically line up for midnight shows, a bit wary of how Paramount has adapted their beloved characters. One decision that has raised eyebrows is that some members of the G.I. Joe team wear high-tech "accelerator suits" that give them super-speed powers.
The one salve for fans, however, was Paramount's hiring of Larry Hama, who created most of the modern G.I. Joe characters featured in the 1980s comics and cartoon, as a consultant.
Hama said he was pleased with an early cut of the film but noted that he had many disagreements with Di Bonaventura during development over changes to the characters.
"I figured there were fights you can win and ones where you don't even try," Hama said. "I just picked the ones that I thought were really important and stuck to my guns on them."
One he did win that probably will please fans is to ensure that the masked martial arts hero Snake Eyes never speaks.
Based on pre-release audience polling, the PG-13-rated "G.I. Joe" is already exciting male moviegoers. Two executives at rival studios agreed that the film will open to at least $50 million at the box office in the U.S. and Canada and could go higher.
That has been surprising to many in Hollywood, since Paramount's focus on blue-collar audiences has left "G.I. Joe" with a very low profile in the national media.
"I've never had a movie where I have had more responses from competitors scratching their heads and wondering why the tracking is so good," Paramount's Moore observed.
claudia.eller@latimes.com
ben.fritz@latimes.com
Paramount Pictures gave the movie its homeland premiere at the base for Air Force One, flying out its stars Channing Tatum, Sienna Miller and Marlon Wayans for a helicopter tour, meetings with the base commander and airmen, and a red carpet replete with paparazzi and billowing American flags.
Launching the film to a military audience is just one part of a highly atypical marketing and publicity campaign for "G.I. Joe," which opens nationwide and in most foreign markets this Friday. Paramount is sidestepping the traditional Hollywood showcase and courting of the national print media in favor of taking the picture directly to America's heartland.
"Our starting point for this movie is not Hollywood and Manhattan but rather mid-America," Paramount Vice Chairman Rob Moore said. "There are a group of people we think are going to respond to the movie who are normally not the first priority. But we're making them a priority."
Yet overseas, where big action films often earn 60% or more of their ticket sales, rah-rah American sentiment doesn't play well. So those references have vanished from the advertising.
European marketing, rather, focuses on action sequences set in Paris -- where the Eiffel Tower collapses -- Egypt and Tokyo, and emphasizes that G.I. Joe is an international team of crack operatives and not some Yankee soldier.
When it comes to selling "G.I. Joe" outside the U.S., the message is "this is not a George Bush movie -- it's an Obama world," director Stephen Sommers said. "Right from the writing stage we said to ourselves, this can't be about beefy guys on steroids who all met each other in the Vietnam War, but an elite organization that's made up of the best of the best from around the world."
Sommers even expects "G.I. Joe" to perform better overseas, particularly in Asia, where costar Byung-hun Lee, a Korean-born martial arts expert, is very popular.
"It was like traveling with Elvis," said the director, who accompanied the actor to a premiere in Tokyo.
G.I. Joe originated in 1964 as a military action figure that could be equipped with various uniforms and weapons. In the 1980s it was reborn in comic books, a TV cartoon and toys, with the tag line "A Real American Hero," as a special military unit of the U.S. government that does battle with an evil organization known as Cobra.
The new film, which will be accompanied by a revamped toy line from Hasbro Inc., features many of the characters from the '80s, but in a futuristic setting.
With a production budget of $175 million and $150 million more in marketing and distribution expenses on the line, "G.I. Joe" needs the biggest possible crowds to turn a profit.
Although "G.I. Joe" has had some of the hallmarks of big-movie event marketing -- a costly Super Bowl ad, billboards and banners on the side of buses in Los Angeles and other big cities -- a disproportionate amount of resources is being funneled into highly targeted efforts.
Paramount bought ads in newspapers distributed on more than 60 military bases, for instance, and ran a "hometown hero" contest in which entrants wrote essays about a local hero they wanted to celebrate with a screening of the movie. The winner was a 7-year-old from San Diego whose father served with the Navy in Iraq.
One week before its release, virtually no journalists had seen "G.I. Joe" except for Harry Knowles, owner of influential fanboy website Aint-It-Cool-News, who gave the movie an early thumbs up.
Beyond Knowles, however, Paramount has largely avoided what would seem like a natural starting point: loyal fans of the toys, comics and '80s cartoon. "G.I. Joe" had no presence at the recent Comic-Con International gathering of genre fanatics, even though there were panels to discuss both the toys and comic books.
"You can never win with those guys," Lorenzo Di Bonaventura, producer of both "Transformers" films and "G.I. Joe," said of the San Diego convention. "They feel they're the keepers of the fanboys flag and have a deep childhood association with many of these properties. And we know the hard-core fans are already coming to see the movie."
That attitude has left some of the most devoted G.I. Joe fans, the type who typically line up for midnight shows, a bit wary of how Paramount has adapted their beloved characters. One decision that has raised eyebrows is that some members of the G.I. Joe team wear high-tech "accelerator suits" that give them super-speed powers.
The one salve for fans, however, was Paramount's hiring of Larry Hama, who created most of the modern G.I. Joe characters featured in the 1980s comics and cartoon, as a consultant.
Hama said he was pleased with an early cut of the film but noted that he had many disagreements with Di Bonaventura during development over changes to the characters.
"I figured there were fights you can win and ones where you don't even try," Hama said. "I just picked the ones that I thought were really important and stuck to my guns on them."
One he did win that probably will please fans is to ensure that the masked martial arts hero Snake Eyes never speaks.
Based on pre-release audience polling, the PG-13-rated "G.I. Joe" is already exciting male moviegoers. Two executives at rival studios agreed that the film will open to at least $50 million at the box office in the U.S. and Canada and could go higher.
That has been surprising to many in Hollywood, since Paramount's focus on blue-collar audiences has left "G.I. Joe" with a very low profile in the national media.
"I've never had a movie where I have had more responses from competitors scratching their heads and wondering why the tracking is so good," Paramount's Moore observed.
claudia.eller@latimes.com
ben.fritz@latimes.com
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