A24 Went Big with 'The Smashing Machine' but Forgot the Marketing

Dwayne Johnson can usually sell a movie with his name alone. But The Smashing Machine opened to just $5.9 million domestically, marking the lowest opening of Johnson's career.

For a passion project years in the making, that's brutal. We want to take a look at the marketing that got us here, and what indie filmmakers can learn from watching a major release stumble.

The film was initially projected to open in the high teens to $20 million range just three weeks before release, according to Deadline. The people who were supposed to show up (Johnson's massive fanbase, Safdie film lovers, A24 folks) just didn't.

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Word began spreading after the Toronto premiere that The Smashing Machine wasn't what broad audiences expected. It's a slow-paced drama about drug addiction, not a straightforward sports film. That's a slightly tougher sell for Johnson fans who usually turn up for high-octane action.

Some insiders pointed out that A24 relied too heavily on their typical digital-social media and tastemaker-driven campaigns when they needed to play a different game. The scrappy indie distributor that built its reputation on clever, low-cost marketing can't use the same playbook when it's trying to create a big-budget blockbuster. You either commit to playing big or you don't. Half-measures get you that low $5.9 million opening.

The marketing was slow to get started, too, with spots finally appearing during MLB playoffs, NFL games, and ESPN programming.

And finally, if you're in film circles, you probably had someone send you the photos of director Benny Safdie spotted walking around Manhattan passing out flyers with a sandwich board.

And many filmmakers did resonate with the image, because we've been there, trying to drum up interest for our small project. But why do this for a big-budget A24 film? This would likely work for a festival push from an indie film, but not so much for The Smashing Machine. It felt a little off.

Timing Played a Part

We have to acknowledge that the film is stacked up against some pretty big competition.

Warner Bros.' spend to promote One Battle After Another has been much larger, with the studio paying 13 times more for traditional TV commercials than A24 spent on ads for The Smashing Machine (per Deadline).

The movie also likely got drowned out in the glitter-pen pop of Taylor Swift's album release and her launch movie, which took over so many screens at my local theaters, I had to scroll super far to find the smaller releases.

Up against these juggernauts, a bigger marketing push was definitely needed.

Takeaways for Filmmakers

So what should filmmakers take from this? Whether you're A24 or a first-time filmmaker, the fundamentals still matter.

If you're in the indie space and don't have a studio or PR firm behind you, start by actually understanding who your audience is.

Identifying your target audience requires examining demographics such as age, gender, education, and location, as well as creating detailed audience avatars that represent specific segments.

Target audiences can be categorized into primary, secondary, and tertiary groups, and understanding the distinction between audience awareness and audience interest is important.

Learn more about how to market your film.

If you do have a larger budget, set aside an amount that matches your overall goals. Don't underspend on marketing because you think you'll go viral, and that's all you need. Virality is too difficult to predict. Hire a PR firm with connections to journalists, buy spots on platforms where your audience is, and don't wait until the last minute.

The Smashing Machine's slow launch shows that even with Dwayne Johnson, Venice buzz, and awards season positioning, you can still crash if your marketing doesn't clearly communicate what your film is and who it's for—and if the spend doesn't reflect your goals.

For indie filmmakers working without those advantages, the margin for error is even smaller. Know your audience, message clearly, and start early. Once word of mouth turns against you, last-minute sandwich boards probably won't save your film.