Warner Bros. Pictures global marketing co-heads Dana Nussbaum and Christian Davin may not have anticipated the viral sensation of the “chicken Jockey” meme when the highly anticipated A Minecraft Movie hit theaters two weeks ago. However, engaging fans in a playful manner was a cornerstone of their marketing strategy.
Building a Campaign on Fan Engagement
“Going into Minecraft, we recognized its appeal to younger audiences, but our initial focus was on connecting with the existing fan base,” Davin explains. The game, known for its open-ended “sandbox” environment, allows players to explore, build, and thrive in a world constructed from blocks. “When fans feel a sense of ownership over a title, they become invaluable partners in its marketing.”
Nussbaum, who serves as EVP and worldwide marketing and consumer products liaison for Warner Bros. Motion Picture Group, emphasizes the importance of authenticity. “We aimed to view everything through the lens of Minecraft—not just staying true to the game but also ‘gamifying’ the campaign to enhance interactivity.”
Collaborating with Legendary Entertainment, the film’s co-finance partner, the marketing team orchestrated a series of fan-centric initiatives. These included interactive social media experiences, tactile billboards, television integrations, and appearances by the cast at gaming events and “rock concert” premieres.
“We understood that the love for this game transcends borders,” Davin notes. “From selecting our world premiere location in London to ensuring our presence at ‘Minecraft Live’ in Sweden, we wanted to ensure global audiences felt acknowledged.”
The strategy proved effective. Although critics were lukewarm in their reviews, they were not the intended audience. Within less than two weeks of its release, A Minecraft Movie had already grossed 0 million globally and over 0 million in North America, with projections suggesting it would surpass 0 million worldwide by April 20. The film features a star-studded cast including Jack Black, Jason Momoa, Emma Myers, Danielle Brooks, and Jennifer Coolidge, under the direction of Jared Hess, known for Napoleon Dynamite.
Innovative Marketing Techniques
“We invested considerable effort into global activations that encouraged audience interaction,” Nussbaum explains. “This included interactive Snapchat lenses and the concept of ‘blockifying’ the world, which we executed in unique ways. For instance, in Europe, we introduced fuzzy sheep billboards that were unlike anything we had done before.”
Numerous brand partners joined the campaign, including McDonald’s, which launched bespoke meal boxes across various markets, and Adidas, which unveiled a clothing and sneaker collection. Notably, Oreo transformed its traditional round cookies into bite-sized squares, while Doritos promoted a cash prize hunt in the UK for limited-edition square chips.
Targeting Generation Z
Nussbaum and Davin aimed to reach all fans of the game, but the overwhelming response came from younger audiences. Research from PostTrak revealed that 64% of A Minecraft Movie’s opening weekend audience in North America was aged 18-24, with 35% falling within the 13-17 demographic. Generation Z, spanning ages 13 to 28, has become a focal point for Hollywood studios eager to capture their attention and convert it into ticket sales.
“Gen Z values authenticity and experience, and we strive to keep that at the forefront of our initiatives,” the executives state. They focused on creating “non-traditional, short-form content” that allowed direct engagement and even co-creation with the audience. A prime example is the film’s TikTok hub, which aggregated user-generated content, providing a platform for fans to “mine” for new material and contribute their own creations.
To enhance authenticity, local-language influencers were enlisted to voice characters in dubbed versions of the film, including personalities like Laura Felpin in France and Gronkh in Germany. The marketing team also responded to audience feedback after the initial trailer release in September, which received criticism for leaning too heavily into live-action elements. By the time of the second trailer in February, the visuals were sharper and more engaging, reflecting key game elements and garnering improved audience approval.
Experiential Marketing and Global Engagement
As the April 4-6 opening weekend approached, the campaign intensified with immersive experiences and photo opportunities in cities like Madrid. Actors portraying Black’s character, Steve, roamed Times Square and other locations, while live sports broadcasts in Mexico and Brazil featured on-air call-outs.
“Our goal was to create an experiential and engaging marketing campaign—ranging from in-world pop-up activations to street teams of ‘Steves’ and thoughtful integration into the game itself,” the executives explain. “We aimed to give Gen Z a taste of the Overworld with every aspect of the campaign, enticing them to theaters on opening weekend.”
Myers’ participation in the annual ‘Minecraft Live’ event in Sweden in late March was a pivotal moment in the campaign. “Until then, we had been quite controlled in how we released footage, but ‘Minecraft Live’ allowed us to share more of the film with fans,” Davin recalls. The studio even invited Minecraft influencers to preview a segment of the movie alongside Myers.
The world premiere took place at London’s Cineworld Leicester Square on March 30, followed by a premiere in Mexico on April 3, where Black and Momoa delighted attendees by photobombing local-language influencers. Nussbaum describes the screening as “playing like a rock concert,” noting the enthusiastic global response. This excitement has been echoed in cinemas, where audiences have joyfully reacted to memorable lines, particularly the now-iconic “chicken jockey.” “The term has entered mainstream vernacular in a way that no one anticipated,” the executives remark.
As A Minecraft Movie continues its journey toward cinematic legend, Nussbaum and Davin remain focused on evolving their marketing efforts. “We’re just getting started,” Davin asserts, as the film remains in theaters and prepares for its digital rollout. “The campaign is adapting as audiences respond, and we’re pivoting our materials accordingly.”
Nussbaum adds, “We have countless touchpoints to explore, from fans dressing up in theaters to enthusiastic shouts of ‘Chicken Jockey’ during screenings. It’s about tuning into these signals, amplifying them, and engaging with emerging trends to remain part of the cultural conversation.”
