Blake Lively: A Creative Force in Transforming Colleen Hoover’s Novel to Film

The box office witnessed a surprising success this weekend with the opening of Sony and Wayfarer Studios’ “It Ends With Us,” which raked in $50 million. The film, starring and produced by Blake Lively, and directed by Justin Baldoni, surpassed initial tracking estimates of $15M, culminating in a final tally well above $40 million.

Marketed effectively to young female audiences, “It Ends With Us” attracted a significant proportion of under-35 viewers, with women making up 84% of the audience. According to Screen Engine/Comscore’s PostTrak, a substantial 60% of viewers purchased their tickets on the same day.

The film’s unexpected triumph underscores the enduring appeal of female-centric literature adaptations, a genre that has largely migrated to streaming platforms post “Fifty Shades of Grey.” However, the aligned star power, fanbase enthusiasm, and timely release strategy drew in a traditionally underserved cinema demographic. Thirty percent of the audience indicated they were there for Lively, while another 30% cited the book.

Sony’s marketing prowess for traditional romance dramas seems far from waning, as demonstrated by previous hits like “Where the Crawdads Sing.” Despite dealing with the heavy theme of domestic abuse, “It Ends With Us” engendered strong support from Colleen Hoover’s BookTok followers, boasting over 2 billion hashtag views.

Initially published by Atria Books in 2016, Hoover’s novel experienced a resurgence in popularity during the pandemic, topping print book sales in 2022 and sustaining a 135-week streak on the New York Times Bestseller List by late 2023.

The collaboration between Sony and Wayfarer Studios ensured a faithful film adaptation, with Lively and Baldoni working closely with Hoover, who served as an executive producer. Lively, acknowledged as instrumental in the film’s creative process, was lauded for preventing the film from merely being a Hallmark movie. Baldoni even hinted at Lively’s potential future as a director in an interview.

Committed to a nuanced portrayal of love and empowerment in women’s relationships, Lively not only contributed to rewrites but also involved herself in editing and marketing. She curated a behind-the-scenes playlist and managed the social media campaign, even securing the Taylor Swift song “My Tears Ricochet” for the trailer, enhancing its appeal.

Sony strategically released the first trailer, which garnered 319 million views, surpassing many recent female-centric movie trailers. The first look was launched during a garden party at the Culver City lot with BookTok and Bookstagram influencers, followed by a Q&A with Hoover and Baldoni.

Timing also played a critical role in the film’s success. Initially scheduled for earlier releases, “It Ends With Us” was ultimately placed two weeks after the massive hit “Deadpool & Wolverine.” This allowed Lively to leverage the hype around “Deadpool & Wolverine,” in which she has a secret role.

The off-screen presence of Ryan Reynolds, Hugh Jackman, and Reynolds’ mother in promoting the film added to its momentum. This move, reminiscent of the 1990 box office battle between Bruce Willis’s “Die Hard 2” and Demi Moore’s “Ghost,” fueled interest and discussions.

Sony’s marketing harnessed the power of social media, with Lively’s 50 million followers and Reynolds’ 128 million followers, to create an impressive 337.4 million social media reach across platforms like TikTok, Facebook, YouTube, and Instagram, far exceeding typical norms for romantic dramas.

The film also benefited from the drama behind the scenes, which added a layer of intrigue. Reports of tension between Lively and Baldoni led to his absence during the press junket and further speculation. This off-screen drama drew comparisons to the notorious production issues of “Don’t Worry Darling.”

The promotion efforts extended to the Book Bonanza fair in Dallas, where Lively and Hoover discussed the film with 2,000 attendees. Lively’s surprise screening of the film added to the buzz amongst book enthusiasts.

Efforts to immerse fans in the movie’s thematic elements included flower shop recreations and social media content shoots. These initiatives engaged fans directly, from crafting and baking sessions to bespoke activities reflective of the book’s creative spirit.

Sony also utilized innovative marketing strategies like the Tiny Talk series, featuring Lively in custom video content. Additionally, the studio targeted non-frequent moviegoers through platforms like Amazon, Goodreads, TikTok, and even airport bookstores.

Fan engagement was further fueled by artistic collaborations within the book’s themes, resulting in viral content. For instance, a floral arrangement video garnered over 2 million views, and a baking clip featuring Lively reached 4.6 million views.

The creative promotion extended to fan participation in floral dressing and jeans patchwork, with influencers sharing their themed outfits on social platforms, adding another layer of excitement and anticipation.

Lively’s deeply invested role in the movie’s promotional campaign earned her accolades within the industry. Leveraging elements from Reynolds’ “Deadpool” marketing approach, her detailed touches were pivotal to the film’s success. A studio insider even expressed a desire for Lively’s full-time involvement, underscoring her impact.

Source: Particle News