Blockbuster films, such as the Harry Potter (2001-2011) franchise, The Iron Giant (1999), and The Shawshank Redemption (1994), have left an indelible mark on society, with their distinct storytelling and memorable characters becoming household, if not global, cultural references. Though these films followed different journeys from script to screen, they share different degrees of strong marketing, strategic planning, and visionary direction. Jim Fredrick, a seasoned veteran with over three decades of experience, has overseen more than 150 advertising campaigns at some of the industry’s most notable studios, including Warner Bros., Castle Rock, and Screen Gems under Sony. He honed his craft in an environment where success and failure are always in balance, earning his reputation as a master of his field. Fredrick’s recently published memoir, Opening Weekend, is a frank “behind-the-scenes” look at his Hollywood escapades, beginning in the 1980s.
Opening Weekend is not a research monograph or an academic study, but it aims to solidify Fredrick’s legacy and offer valuable insights into the marketing of Hollywood’s most iconic films. Structured into “acts,” the memoir highlights key periods in Fredrick’s life, providing an in-depth look at his work on various film projects. It consists of several bite sized chapters, each opening with a memory tied to a specific photo or movie poster that correlates to the story. At times, the book can be confusing, due to the involvement of numerous real-life figures, and it doesn’t shy away from showing the ongoing struggles between creatives and studios. A more concise focus on the most relevant moments would have made it even more engaging.
As is common with memoirs, the story is told solely from Fredrick’s perspective, leaving readers to wonder how others involved in Fredrick’s workplace conflicts might have perceived certain situations. Still, for anyone interested in the entertainment industry, the book offers a compelling glimpse into the intricacies of film marketing. “You’ll barely earn a living wage; you’ll work long hours, and probably be treated with little respect. Welcome to Hollywood” (314)! The storytelling remains strikingly candid, mentioning real industry professionals—some still alive today—adding an extra layer of intrigue to his accounts of “studio politics” and office tensions.
In the past, Fredrick faced the challenge of convincing audiences to leave the comfort of their homes and head into theaters. He approached this by creating trailers, posters, and other marketing materials that connected with viewers while staying true to a film’s vision. A key takeaway from Opening Weekend is that no matter how brilliant a movie may be, its toughest hurdles often lie in marketing. This is perfectly illustrated by The Shawshank Redemption (1994). “How could such a great film fail to engage audiences right from the start?” (102). Despite now being celebrated for its compelling story of injustice and redemption, the film initially flopped at the box office. Fredrick, who worked on the project, shares the difficulties of marketing a film that was hard to promote without revealing too much of the plot. Despite its rocky start, the movie eventually found its audience and became a beloved classic.
Today, as the industry struggles to bring audiences back to theaters, it’s evident that the marketing landscape has dramatically changed since the 1980s, with advertisers not only working to attract viewers, but also competing against everyday technologies like computers and smartphones. While many of Fredrick’s strategies, such as the importance of the trailer, remain relevant, the industry now competes with an array of digital media that Fredrick never had to consider. In an oversaturated media environment, a film must be exceptional, and its advertising must capture the target audience’s attention from the very first piece of marketing.
Nothing is more valuable than learning from credible and experienced sources. “Before my students walk out the door at Chapman, my last piece of advice is to go forth and find joy in their work. If you don’t find it, find something else. There are too many choices out there” (399). While the industry and strategies of studio marketing have undeniably changed, there’s still much to gain from someone who’s been fired, made mistakes, left a higher-paying job for Warner Bros., and navigated the ups and downs of the entertainment world. Opening Weekend highlights the nonlinear path to success and offers a raw glimpse into the challenges of working in Hollywood. It’s particularly poignant to learn from someone who’s marketed some of the greatest films, as the future now rests with a new generation facing unprecedented challenges. Learning from those who came before us is essential, especially when they aim to share their wisdom and leave the industry better than they found it—and Fredrick’s memoir embodies this spirit.
Author Biography
Estefania Rosas De La Maza is an undergraduate Public Relations, Advertising, and Entertainment Marketing student at Chapman University. Apart from her studies, she enjoys reading and exploring different parts of the world. She believes that traveling is the greatest gift and seeks hands-on learning experiences in everyday life.
Book Details
Opening Weekend: An Insider’s Look at Marketing Hollywood’s Hits and Flops, Jim Fredrick (2024)
Jackson: University Press of Mississippi, 382pp., ISBN: 978-1496853387 (hbk),$35.00
