That scene from 2001: A Space Odyssey is the dawn of man, and the idea of using Barbie as a replacement for the iconic monolith – it was sophisticated, in that it was a reference to a Kubrick movie from the 60s. It broke the mold in terms of the images that first come to mind when thinking about a Barbie movie. You’ve said publicly that it was one of the most debated pieces of marketing you’ve ever worked on. One of the early teaser trailers was a homage to 2001: A Space Odyssey, showing girls in a prehistoric desert playing with baby dolls, and then smashing those dolls on rocks after a giant Barbie appears. You sent the message that Barbie may not be what viewers would expect from the start. The conversation has been edited for length and clarity. How did Barbie do it? Josh Goldstine, the president of worldwide marketing at Warner Bros, spoke to the Guardian about the film’s unconventional marketing strategy, the rise of Barbenheimer, and what the power of the pink purse may teach other film studios. The film has launched alongside more than a hundred bright pink branding deals, from Barbie sparkles on Google search results to Barbie-endorsed home insurance to a sold-out line of Barbie Crocs, and inspired crowds of moviegoers to show up in matching costumes. Barbie’s long plastic legs are bestriding the world like a colossus, while more macho summer action films like Mission Impossible are left searching for audiences in her shadow. But Barbie has outperformed all expectations, breaking box office records for the most commercially successful film by a female director, bringing in more than $356m (£276m, A$527m) worldwide during its opening weekend, and another $50m in tickets on Monday and Tuesday alone.
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