International Theatrical Marketing Strategy

Home , David Ayer, End of Watch, Inglourious Basterds, Jon Bernthal, Roman Vasyanov

Main Genre: Action Drama

Brad Pitt Wardaddy 12 Years a Slave, World War Z, Killing Them Softly Moneyball, Inglourious Basterds, The Curious Case of Benjamin Button

Shia LaBeouf Bible Charlie Countryman, Lawless, Transformers: Dark of the Moon, Transformers: Revenge of the Fallen, Eagle Eye, Indiana Jones and the Kingdom of the Crystal Skull

Logan Lerman Norman Noah, Percy Jackson: Sea of Monsters, Stuck in Love, The Perks of being a Wallflower, The Three Musketeers

Michael Peña Gordo Cesar Chavez, American Hustle, Gangster Squad, End of Watch, Tower Heist, 30 Minutes or Less

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Jon Bernthal Coon-Ass The Wolf of Wall Street, Grudge Match, Snitch, Rampart, Date Night

David Ayer Director Sabotage, End of Watch

Target Audience

Demographic: Moviegoers 17+, skewing male.

Psychographic: Fans of historical drama, military fans. Fans of the cast.

Positioning Statment

At the end of WWII, a battle weary tank commander must lead his men into one last fight deep in the heart of Nazi territory. With a rookie soldier thrust into his platoon, the crew of the Sherman Tank named Fury face overwhelming odds of survival.

Strategic Marketing & Research

KEY STRENGTHS Brad Pitt, a global superstar. Pitt’s star power certainly is seen across the international market and can be used to elevate anticipation of the film.

This is a well-crafted film with standout performances.

Realistic tank action is a key interest driver for this film.

A classic story of brotherhood in WWII that features a strong leader, a sympathetic rookie, and three other entertaining, unique personalities to fill out the crew.

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Typicality is a common concern for WWII movies. Fury needs to focus on this specific tank, the squad, and the importance of their mission in order to differentiate it.

War is an overpowering element that can overwhelm the other aspects of the film and place it in a box. Breaking out of the “war movie” box requires sharp story points and character details.

We cannot appear too sad or depressing, or make it seem like all of our characters fates are sealed when they make their stand

Broadening out the audience. Selling the emotional drama of the film will be the best way to broaden out the audience to females and those not interested in war themed films.

Gritty war films can have limited results internationally (LONE SURVIVOR, ACT OF VALOR, ZERO DARK THIRTY). But when big names are attached, it is a much more promising picture (INGLORIOUS BASTERDS, CAPTAIN PHILLIPS, WAR HORSE).

RULES OF FURY Lean toward battle scenes and spectacle in action markets. Push a high quality war drama everywhere else. But regardless of the territory, FURY should be seen as a Brad Pitt film first and foremost.

Raise the stakes. The rag tagged crew now faces their greatest challenge: They are vastly outnumbered, 5 against 300.

Give the crew a clear mission and reason for their actions.

Get the tone right: Like a tank rolling into the thick of battle, we want to communicate a sense of a serious mission and real human drama. But make sure the film is not seen as only full of intense and noisy battle scenes. Inject some quiet, even solemn, moments, along with an occasional dose of fun camaraderie (ie, the crew poking fun at one other).

Carefully position Wardaddy and Rookie Soldier. This relationship is the heart of the film. Through this father-son, mentoring relationship, the key themes of solidarity and fellowship are conveyed. It is also how we bring in drama fans.

Give the crew of Fury a clear and important mission. It is not enough that they have survived the war up to this point and continue to press into Germany. The audience wants to know what their specific objective is.

Deliver memorable and unique action moments. This movie has tank action unlike any other, and can distinguish itself from other WWII movies by highlighting that

While it is okay to be serious, we should never tip the scale towards bleak or depressing. Small doses of levity, especially camaraderie among the crew, go a long way.

Position Brad as the father figure and leader of the crew. He is the reason they have stayed together, and will ensure that Norman becomes part of their family. 3

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The crew fights as one in battle, but when they get respite from the war they are unique, diverse personalities. The audience craves moments where they can find out more about the guys, and see them bond.

Logan is the audience’s eyes and ears. He is new to the crew just like we are. He should initially be portrayed as green, but never dwell too long on moments where he’s scared, or fails to perform.

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In the below graphs, awareness and popularity are indexed against the average scores for each territory. Stars’ awareness and popularity scores are mapped out so that they land in one of four quadrants based on whether they have high or low awareness and popularity relative to the norm for that territory.

The ideal marketing scenario for a territory is for a star to land in the top right quadrant: “Superstar”, which would indicate that the star has both high awareness and high popularity. The Brad Pitts and Will Smiths of the world occupy that very top right corner. Conversely, if a star lands in the bottom left quadrant – “Underperformer” (low awareness, low popularity) – it would indicate that the star is challenged from a marketing perspective.

Note that not all graphs are presented at the same scale – please reference awareness and popularity index scores along the axes. Please also note fielding dates.

Popularity score = “one of my favorites” + “very good”

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Brad Pitt

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CONFIDENTIAL – DO NOT DISTRIBUTE Logan Lerman

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Jon Bernthal

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Michael Pena

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INTERNATIONAL DIGITAL

Positioning Position Fury as a broad-based, cast driven, action film appealing to core broad audiences.

Unofficial Official Synopsis April, 1945. As the Allies make their final push in the European Theatre, a battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank and her five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.

Targets Generate awareness and interest about the film through online media stunts and online features to reach target demographic:  Primary Target: Broad Moviegoers (15-54)  Secondary Targets: Fans of the cast (Brad Pitt, Shia LaBeouf, Logan Lerman, Jon Bernthal, Michael Peña), Fans of the filmmaker (David Ayer)  Tertiary Target: Fans of the war genre

Objectives and Strategic Approach

Objective 1: Highlight the great action that surrounds these epic battles to engage broad audiences  Highlight the cast and filmmaker pedigree to broad moviegoers with the immersive site in video and socialized assets.  Work with editorial partners to publish the articles and social posts we will create surrounding “Life Of A War Hero” and “Civilian War Heroes” to reach broad moviegoers.  If applicable in your markets, work with influential social media personalities to push the “Fury Graphic Instagrams” we will be creating.

Objective 2: Highlight the intense drama to engage fans of the cast, especially females  Emphasize the high drama and inclusion of female acts of bravery with the “Civilian War Heroes” social assets to be distributed via Instagram/Twitter/Naver/Line etc…  Engage fans of the filmmakers and the cast, (Brad Pitt, Shia LaBeouf, Logan Lerman, Jon Bernthal, Michael Peña), in particular, through the use of digital greetings on social media and editorial sites.  Leverage the “Fury Graphic Instagrams” to soften the story and get females and younger audiences engaged with the content to give context to the grittier action of the trailer(s).

Objective 3: Highlight individual pieces of content to reach younger fans of the war genre  Emphasize shareable content on discreet subjects via the Tumblr site.  Reach younger and more male with the “Tanks Of Fury” features that delve into the astounding facts about these machines of war.

CONFIDENTIAL – DO NOT DISTRIBUTE  Create personalized social graphics with our “Tank Your Profile” generator. Easily generate social graphics with your personalized name on an actual tank. Put your face into it and create a profile graphic to match.  Promote the “World of Tanks” MMORPG to increase awareness of the film to the 10mm monthly users of the game.  Use the Fury WAP mobile game to get younger gaming audiences involved in the campaign.

Digital Campaign Overview Sliderocket Please visit the link below to view the Digital Campaign Overview for this title. The presentation lists all assets and features for this campaign as well as any available EAGL file names and timing.

Link: http://portal.sliderocket.com/SonyPicturesWorldwideDigitalMarketing/Fury-Intl- Campaign-Overview

Social Media:

Use social media to distribute content and increase word of mouth.

Upload video clips to your local viral video sites and Sony Pictures specific video channel.

Feel free to create your own local pages with social networking and social media sites where users can subscribe, watch the trailer, post comments and see photos from the movie.

The below U.S. Social Media Strategy is to offer examples to consider for local plans.

U.S. Social Media Strategy  Further develop the existing Facebook and Twitter community of Fury fans, broad moviegoers, fans of the talent and filmmaker  Build a Fury community that can act as marketers for the film.  Reach out to the Fury online fan base to evangelize the film online.  Reach out to fans of the talent on existing social media communities.

The U.S. Facebook page is listed below. Please adapt/translate it for your local campaigns. If you do not create your own local ones, please “Like,” “Follow” or “Subscribe” to them on your own accounts. Kindly alert us when your pages go live so we may link to them from the U.S. page and drive traffic to your sites.

U.S. Social Media URLs

U.S. Facebook.com/FuryMovie Twitter Twitter.com/FuryMovie Facebook Handle: Page: U.S. http://furymovie.tumblr.com/ U.S. #Fury Tumblr: Hashtag: YouTube Youtube.com/user/SonyPictur Wikipedia http://en.wikipedia.org/wiki/Fur Channel: es URL: y_(2014_film) Instagram: Instagram.com/Furymovie 12

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Info Tab and Credits: Please use the approved wording on the US Info Tab (link below) when filling out the credits on your local Info tab on Facebook.

For legal reasons, it is important that the order and list of names are observed.

Online Editorial/Publicity: Provide trailers, key art, photos and other marketing materials to local entertainment and fan websites. Offer exclusives to your top online partners to launch the trailer or video clips. • Syndicate trailer and approved clips • Launch exclusive photos on cinema sites • Launch exclusive clips on movie sites • Invite movie/portal/genre sites to local junket/media events • Send editorial partners the social graphics like “Tanks of Fury” assets or have them point to or host the Fury WAP game.

When talking to online editorial partners: 1) Highlight the cast if they are popular in your territory. Do not encourage editorial partners to talk about the casts’ personal lives. 2) Highlight the filmmaker pedigree. 3) Encourage editorial partners to highlight the social content from “life of” and “civilian war heroes” we create. Each theme will have local content.

Website:

International Splash Page: The international immersive site will feature the characters, talent, online features, and other features.

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Site Features: • Synopsis • Cast and Filmmaker • Photos • Videos • Links out to Fury Social Pages

EAGL File Name: Fury_INTL_Splash_080414.zip

International Immersive Website: The international immersive site will feature the characters, talent, online features, and other features.

Site Features: • Story pieces • Cast and Filmmaker cards • Photos • Videos • Link to Tank Your Profile • Links out to Fury Social Pages

EAGL File Name: Fury_INTL_Website_091214.zip Also, renders of the tank movements from the site can be found on EAGL to use as assets for online games, editorial partners and ad units: FURY_INTL_ImmersiveSite_TankRenders.zip FURY_INTL_ImmersiveSite_TankSequence.zip

Search Engine Optimization The following is to help search engines (e.g. Google, Yahoo, Bing) find your site. Please use the following code when translating the site into your language. Also, submit your site to your local search engines.

Website Fury | International Movie Site | Sony Pictures

Meta Tag:

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war film, which will stand apart from the typical fare this genre is known for. Always trading on the star power of Brad Pitt, FURY will also be positioned as an award- worthy film with a stellar ensemble cast, promising standout performances, genuine emotion and human drama; all set against the backdrop of World War II. The materials will showcase the camaraderie of the soldiers in the tank as a key touchstone in all elements of the campaign, while never leaning too heavily on violence and straight action to sell the film. And though Logan Lerman’s portrayal of a young rookie soldier, thrust into a war he is ill prepared for, will make him a highly-relatable character for audiences, it is ultimately his relationship with Brad Pitt’s war weary tank commander that should remain a key element of the campaign. While the artful direction of David Ayer does not shy away from violence, this film is, at all times, a human drama which will appeal to both males and females.

Posters: TEASER POSTER - the below teaser posters and quad debuted online and in theatres June 24th, with the release of TRANSFORMERS: AGE OF EXTINCTION. Two versions of the teaser poster were serviced, one with the English title visible on the tank turret, and an alt. version for non-English speaking markets, with the localized title treatment along the bottom.

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FINAL POSTER: the below poster and UK quad were serviced in mid September.

In Theatre: The below triptych banner set was serviced in early July, featuring the entire ensemble cast posing on the tank. The copy reads: HONOR. GLORY. WAR. Please note, this banner has been killed, and should no longer be used.

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The below 15x8 banner was serviced in early September, to replace the previously serviced banner.

Character Banners are in Development

OUTDOOR The below outdoor layouts, based on the teaser and final artwork, were serviced in mid September.

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Bulletin

Bus Shelter

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30-Sheet

A/V

INTERNATIONAL THEATRICAL TRAILER “A” (2:06) The first international trailer went up in theatres in late June with TRANSFORMERS: AGE OF EXTINCTION. The trailer begins by establishing Sargent Collier (Brad Pitt) as the war weary leader of a Sherman tank crew on the German front in World War II. After one of their men is killed, Norman (Logan Lerman) is assigned to be their new gunner. Young and inexperienced, he is hardly the kind of man a crew of veteran soldiers would willingly trust with their lives. Reluctantly accepted into the tank by Collier and his crew, Norman’s mettle is quickly put to the test in a violent confrontation with a German tank, in which his fear and hesitation nearly get the crew killed. In a rare moment of introspection, Norman tells Collier he is scared, to which Collier responds, “I’m scared too.” As the trailer builds to an emotional climax, violent and often beautiful images of battle are intercut with dramatic and emotionally charged shots of the tank crew, as they come to accept Norman as one of their own, and work together to survive against the seemingly insurmountable odds of war. In a suspenseful climax, the crew bravely prepares for a battle in which they are outnumbered “five against three hundred.” The trailer concludes with a short montage of the ensuing tank battle, resolving on a fiery graphic of the title, FURY.

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INTERNATIONAL ON-LINE TRAILER “B” (2:27) The second International trailer launched online and in select Imax theatres in late June. This piece expands on International Trailer A, offering a few more character moments where the camaraderie of the crew is on display, and allowing some of the key battle scenes to play out a little longer.

INTERNATIONAL TRAILER “C” (1:32) The third International trailer is a cutdown of COURAGE, which launched in theatres in France with TRANSFORMERS: AGE OF EXTINCTION.

INTERNATIONAL TRAILER “D” (2:06) The second international trailer goes up in theatres with THE EQUALIZER on September 25. This trailer drops us into the middle of the action, as we see the Fury crew engaged in an intense battle. When rookie gunner Norman (Logan Lerman) fails to do his job, nearly costing the rest of the crew their lives, Wardaddy (Brad Pitt) must take him under his wing if he is going to turn him into an effective soldier. As the Fury crew then embarks on their final mission, their tank is disabled, and the crew must make the impossible decision to either flee, or stay and fight a battle in which they are hopelessly outnumbered. Knowing they may not make it out alive, Norman is the first to volunteer to stay. As the trailer concludes in a cliffhanger, we see the crew embedded in the tank, ready to fight, as a battalion of German soldiers approaches.

TV SPOTS

:60 JOURNEY INTL – this is a :60 cutdown of International Trailer D.

Calm Before the Story Int'l (:30, :20) – A stylish and visceral story spot, about the tank crew standing up to a battalion of three hundred soldiers. The spot ends with a unique montage with some stylish sound design, featuring many of the biggest visuals in the film.

5 Soldiers Int'l (:30, :20, :15, :10) – A emotional story spot, focusing on the bond between the five soldiers in the tank, in the midst of an impossible mission.

Last Mission Revised Int'l (:30, :20, :15) – A broad story spot, that should be your workhorse early in the campaign. It tells the story of five soldiers in the waning days of the war, facing one final, impossible mission. The narration reads, "They've been together for years. This year, the only thing that stands between them and the end of the war, is one impossible mission.

Brotherhood (:30, :20, :15, :10) - a spot focusing on the comaraderie and brotherhood between the soldiers.

Recruits (:30, :20, :15, :10) - this spot centers on the new recruit (Lerman) teaming up with the seasoned veteran (Pitt) as the tank crew embarks on one final, impossible mission. The copy reads, A NEW RECRUIT/A SEASONED VETERAN/ONE IMPOSSIBLE MISSION. 26

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Bravest Int'l (:30, :20, :15, :10) - an intense action spot focusing on Wardaddy, leading his crew into battle. This spot can work broadly, but should be particularly effective against young males.

5 Soldiers Alt. Int'l (:30, :20, :15, :10) - an alternate take on the previously serviced 5 SOLDIERS INTL spot, which places less emphasis on the "it's 5 against 300" idea, in favor of more camaraderie amongst the soldiers, as they embark on an impossible mission

Brotherhood (:60) - this :60 focuses primarily on the bond between the soldiers as they head into battle. The copy reads, WAR BROUGHT THEM TOGETHER, FURY MADE THEM BROTHERS.

INTERNATIONAL PUBLICITY

PUBLICITY STRATEGY & GOALS  Refer to the rules and positioning of the film and strategically exploit publicity assets, i.e. photography, EPKs, the featurette, etc. working closely with editors/producers etc. to ensure the film is correctly positioned editorially.  Ensure the film is part of all the major Autumn/Fall /Winter film preview issues as relevant to your release date.  In line with the marketing materials, leverage Brad Pitt’s international star power with general film features, profiles and photo placement. The international box office on his last action feature WORLD WAR Z accounted for 62% of the overall worldwide b.o. which exceeded $540 Million.  Brad Pitt is central to the campaign. Overcome limited access to him by generating general features on the actor and his career (that do not require interviews) to ensure he is well represented in the publicity campaign.  Leverage David’s Ayer’s reputation based on the successful END OF WATCH.  Depending on the positioning of the film in your market: o Aim to secure editorial placement across all demographics for action fans by emphasis emphasizing on the action in the film, particularly for the younger demographics. . Use online editorial placement to link and drive traffic to the visually exciting AV materials: trailer and clips that reflect the action. o For story driven fans, aim to secure editorial placement by emphasizing the humanity, brotherhood and camaraderie in the film amongst the characters.  Engage women by pitching the father-son / mentor relationship between Brad Pitt and Logan Lerman with visuals and A/V material.  Reach younger male demographics and potential female cross-over audience with profiles and features on the younger actors: Logan Lerman and Shia LaBeouf.

CONFIDENTIAL – DO NOT DISTRIBUTE SCREENING STRATEGY – Further details about tastemaker and WOM screenings will be forthcoming under separate cover.  Early releasing markets can screen for press under strict embargo (in all mediums) as needed once you receive your DCP.  Reviews should be held for release but can run no earlier than Oct. 10 at 10am PST.  Ann-Elizabeth’s team will advise necessary security for screenings.

MATERIALS

Written Materials:  Generic Interviews: with Brad Pitt, Logan Lerman, Jon Bernthal and David Ayer - distribution date TBD.  Brad Pitt Q&A serviced on September 17  David Ayer feature and Q&A serviced on September 19  Features and Q&A’s with Logan Lerman and Jon Bernthal forthcoming  Preliminary production notes available end of August by request for interview purposes only. Final production notes anticipated week of September 29.

Photography:  26 photos on Publicity site as of September 16, 2014  Special shoot with Brad to be distributed as of end of August. Aiming to supply watermarked images for pitching mid-August.  PDF of Brad Pitt special shoot provided to field mid-August for pitching. All special shoot images of Brad require additional approvals.  Special shoot with other cast and / or group photos  121 photos from the special shoot with Logan, Jon, Shia and Michael posted as of September 16.

Electronic Materials:  “Brothers Under the Gun” featurette – tentative launch date Sept. 2  “Into the Tiger’s Jaw” featurette – tentative launch date Sept. 15  “Recreating Hell” featurette – tentative launch date Sept. 29  “Heart & Soul” featurette – launch date October 1  “Character Vignettes” highlighting each of the 5 main characters – launching on Sony Fury website on October 1 and available as needed thereafter.  Also available as needed as of October 1: o David Ayer Featurette  EPK delivery to markets for transcribing – beginning of October  EPK launch October 6

INTERNATIONAL PUBLICITY ACTIVITIES

Junket Activities  Long lead press with Brad Pitt, Logan Lerman, Jon Bernthal, David Ayer at the Tank Museum in Bovington on August 28 & 29

CONFIDENTIAL – DO NOT DISTRIBUTE  Int’l press junket in Paris on Saturday, October 18; note that access to Brad Pitt will be extremely limited will be limited to red carpet only.

International Tours EUROPEAN TOUR:  Saturday, October 18 – Paris for French press, Int’l press & photo opp Brad Pitt, Logan Lerman, Jon Bernthal, Shia LaBeouf, David Ayer  Sunday, October 19 – London for UK press & London Film Festival activity Brad Pitt, Logan Lerman, Jon Bernthal, Shia LaBeouf, David Ayer  Tuesday, October 21 – Amsterdam for Dutch press & premiere Logan Lerman, Jon Bernthal & David Ayer  Wednesday, October 22 – Stockholm for Scandinavian press Logan Lerman, Jon Bernthal & David Ayer  Thursday, October 23 – Moscow for Russian press & premiere Jon Bernthal, David Ayer & Roman Vasyanov (tbc)  Friday, October 24 – Moscow for Russian press Jon Bernthal, David Ayer & Roman Vasyanov (tbc)

ASIA:  Thursday, November 13 – Korean press & premiere Brad Pitt & Logan Lerman (tbc)

EDITORIAL IDEAS / PUBLICITY STUNTS

 Utilize online publicity to drive traffic to the AV materials (trailer, clips) that illustrate the action and drama as well as highlighting Brad Pitt and the strong ensemble cast.  Maximize Brad Pitt’s star power and cross-over appeal editorially with placement of key photography, general film profile pieces, character profiles in lieu of major interview pieces.  Highlight the handsome young leads with profile features in both men’s and women’s magazines and online sites. o Draw in the younger audience with features on the “grown-up” Logan Lerman, most recently seen in NOAH. o Aim for coverage of Shia LaBeouf as an actor, while avoiding coverage of his negative behavior. We believe that once people see his great performance in FURY, his presence in the cast will have editorial value.  Tie-in with the Fall fashion issues and military inspired fashion spreads  Engage women with breakout campaigns. Explore significant local females and their roles during the war (such as Queen Elizabeth II who served as a truck driver and mechanic).  Consider a newspaper or online feature with an illustrated or interactive (online) dissection of a tank showing the dimensions and where everyone sits, and what their respective jobs are i.e. what life is like inside a working/fighting tank - Include mini headshots of each actor with is character name that can be clicked on to explain who they are and what their roles are.  Work closely with local broadcast networks to program a season of WWII classic and recent films prior to release.  If relevant in your release window, discuss a local “Remembrance Day” (November 11th) event tie-in that can be positioned sensitively in your market to convey key 29

CONFIDENTIAL – DO NOT DISTRIBUTE messages such as: it’s important for the younger generation to be aware of the sacrifices made in WWII and to understand the brutality of war as well as to honor WWII veterans who are still alive, as well as veterans of recent wars. o 2014 is the 100th Anniversary of WWI (when tanks were first used in combat.) o Consider whether a charity screening inviting any WWII veterans and also Iraq and Afghanistan veterans or a series of special military base screenings for soldiers and their families might be right in your territory. o Remembrance Day in the UK (Poppy Day) on November 11th is also observed in the following Commonwealth and non-Commonwealth territories: UK Remembrance Day / Poppy Day in the UK including Commonwealth: Australia, Canada, India, NZ, S. Africa and outside the Commonwealth: France, Belgium, Denmark, Germany, Italy, Netherlands, Poland, Israel, Ireland, Hong Kong. o Note: Veterans start gathering in London several days prior to Sunday, November 11th memorial event if a special Remembrance weekend event screenings was being considered.  Without diluting the entertainment factor too much, consider limited top tier broadsheet features, comparing current day wars and heroes to those from WWII.  Consider engaging local tank crews in your editorial efforts to broaden the appeal of the film beyond your typical war film.  Target the online gamers and Xbox 360 users through key websites including any specific “World of Tanks” game website and blogs.  Reach out to history fans and older demographics with subsidiary features in broadsheet newspapers on the history of famous WWII tank divisions and personal heroic stories that pertain to your local territory, if applicable.  Consider specialist magazine features on the last WWII Tiger Tank, which was used in the film.  Explore cross-promotional opportunities with any local WWII or military museums in your market.  Features in film/movie magazines on cinematographer Roman Vasyanov – (Russian) (Spirit Award Winner for “End of Watch”).  General features and lists on the top WWII movies of all time.  Film features on director David Ayer (END OF WATCH).  Supplement editorial outreach with select features on the strong supporting cast members where there is interest in your territory. Highlight their international heritage and training, as relevant to your market:

Jon Bernthal studied at the Moscow Art Theatre School

CONFIDENTIAL – DO NOT DISTRIBUTE American actor Michael Pena’s parents are from Mexico

British star Jason Isaacs is familiar to Harry Potter fans as Lucius Malfoy

INTERNATIONAL MEDIA

TARGET AUDIENCE Primary Target: Adults 18-54, male skew Secondary Target: Adults 15-24, male skew

MEDIA POSITIONING STRATEGY Position Fury as the most anticipated film of the Fall/Winter. Heavy levels of aggressive media along with a tactical activity in sustain will position our film as the powerful action drama featuring global superstar Brad Pitt.

PLANNING STRATEGY Plans will include kick-off event TV "stunts" to announce the arrival of Fury. Generate tent pole levels of awareness utilizing long length early placement on high profile TV programs (:60’s/:30’s). Tight, high impact TV schedules will serve as the anchor with outdoor, on-line and high frequency "announcement" radio providing strong break-through support. Page dominant press ads will be scheduled on key movie-going days establishing Fury as the major event film in theaters for older more review sensitive movie-goers. Sustaining campaigns will be strategically scheduled in consideration with competition and market place conditions.

EARLY STUNTING

TV Consider highly rated early placement on key broad audience programs – we should be there with longer length :60 or :30 units. We need to build up excitement and establish our position as an epic story-telling, quality film that everyone wants to see. Look to early premieres or highly rated sports programming to establish our presence and help intensify impact.

LAUNCH STRATEGY

TV Again, aggressive TV launch campaign; may include high impact :60 and/or :30 road-blocks announcing Fury’s dominant player position in the marketplace. 31

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Longer length 30's kick-off campaigns, telling the story, and selling the star power of our cast and the nature of the “true story”. Midway, fold in moderate lengths :20’s and :15’s to achieve strong reach goals. These longer lengths will help ignite the core while motivating infrequent movie-goers to choose Fury as one of their honored few picks of the year. Fold in shorter lengths units closer to release to maintain high frequency levels.

Broad-based programs help lay the groundwork for a wide, mass appeal adult hit. Find the line between more mainstream programming for the older, broad-based movie going audience (e.g.: X Factor, Dr House, Futbol, Top Chef, Pop Idol), and the younger more targeted programs, (e.g.: Simpsons, Sports, Late Night Talk, Weekends, Music Channels). While prime will be a key focus, consider all dayparts (early morning news, early fringe, late- night) to help lay the foundation for story-telling and reaching each demo, particularly older, more discerning audiences, albeit always considering the rating and appropriate placements.

It is important that we strike a balance between both male and female programming. Select dayparts carefully to reach both demographics (i.e. early morning, talk and access to secure women/news, late night, sports recaps within late news and sporting events to reach males).

Cable/Satellite will be especially important as we niche up our audience and target older men, older females and the younger segment who will be interested in the powerful story telling moments.

Outdoor Outdoor will act as a main driver in upfront/lead markets. Consider premium backlit formats (bulletins/shelters) in broad locations to reach our movie goers. We have amongst one of the biggest movie stars in the world, so let’s use this key vehicle to showcase our top asset.

In outdoor friendly markets, where Brad is known to perform (including non-tent pole titles) and review driven markets, consider street furniture, malls and underground metro campaigns to reach our younger audience.

Use minimally to identify strategic communal areas that stimulate conversation and can capitalize on the star appeal of this film – trendy community centers, bars, night clubs, music outlets and coffee shops.

Universities will be a key part of reinforcing any and all promotional and word-of-mouth screenings happening on campuses, especially in markets with a limited budget. Consider wild posting if available and cost efficient.

Radio Announcement paid radio concentrated squarely on top of opening, scheduled in high frequency bursts (11-15 units per station per day).

Consider a countdown creative approach.

A strong medium to showcase critical reaction and positive reviews.

CONFIDENTIAL – DO NOT DISTRIBUTE Promotions may be more difficult, but if doable, approach delicately and be sure to maintain a high standard of quality.

Digital Video/Pre-Roll will be important to help explain the story and highlight the great performances of the cast (YouTube, Daily Motion).  Consider an early out trailer campaign to increase awareness.

A crucial component of the campaign to help plant the seed early out and begin the slow building hype and excitement for this film by using social networks is to increase social noise and spread word-of-mouth (Facebook, Twitter, local social networks).

To reach males, look at gaming and sports sites (IGN, Machinima, ESPN, Local sites).

To reach adult movie goers more sophisticated sites and portals (IMDb, Newspapers, Yahoo, MSN, Orange, Mail)

Newspaper Page dominant large format ads communicate event and importance of the release especially to older, more literate audience.

Some pre-launch ads may make sense in relevant markets, but utilizing key publications only, and with a large ad size presence.

Consider color, either 2 or 4 color where affordable/appropriate for an extra shout. Ad sizes should not be compromised for frequency.

Key days only, especially given the event status of the title and star.

Magazines Consumer magazine activity will be limited from a paid perspective.

Publicity will lead the way with what is anticipated to be very “rich” content, and will earn us far more in editorial vs. paid advertising space.

Pan-Regional Activity We will most likely have limited access to assets, but rest assured we will look to place whatever becomes available. If there is not an available scene to use as a sneak peek we will look to bonus trailer plays and longer length units (:60s and :30s) as added value.

Supporting Networks we are considering:  ASIA – With limited rights in this region, we will not be supporting with pan regional.  LATIN AMERICA – Sony Channels, Discovery, ESPN, MTV/Comedy Central, TNT, Warner, Space, History Channel  EUROPE - MTV/Viva/Comedy Central, Discovery/DMAX, EuroSport

NETWORK HIGHLIGHTS: Secured placement of the :60 NCM piece on Discovery Channel/DMAX in Europe and Latin America, with talent intros (Logan/Jon for Europe and Michael/David for Latin America).

CONFIDENTIAL – DO NOT DISTRIBUTE Negotiating with History Channel in Latin America to obtain placement of the :60 piece, “Inside Tank,” in or around the airing of “World Wars” and a sponsorship of “Pawn Stars.”

Developing a soccer integration with ESPN in Latin America to splice interview footage of Brad Pitt and Logan Lerman, with interview footage of two famous soccer players, in order to highlight the mentor/mentee relationship theme in the film, and capitalize on the popularity of the sport in the region.

PLEASE NOTE: We have already begun negotiations with the cable partners. If you had them in mind for your local plans please synch up with us so that we can be sure not to duplicate efforts.

We have built a campaign with Metro, placing a one page ad featuring the Brad Pitt print creative in the movie listings section.

INTERNATIONAL PROMOTIONS

International Promotional Guidelines

Third Party Brand Promotions Guidelines Due to talent restrictions, third party brand promotions on this title will not be accepted. Please focus on media and in-cinema promotions only.

WORLD OF TANKS TIE-IN WarGaming is a leading digital strategy game developer with over 80 million registered users worldwide. To support the upcoming theatrical release of FURY, WarGaming will be executing cross promotional opportunities in Germany, Poland, Czech Republic, Spain, Turkey, UK, France, and Russia surrounding their most popular digital game, World of Tanks. World of Tanks is a free-to-play, team-based multiplayer online action game dedicated to armored warfare. Applicable Sony local office contact information has been passed along to ensure this campaign can be maximized in all these markets. War Gaming’s contact details are below if you have not heard from them at this point.

Wargaming Europe 54 avenue du Général Leclerc 92100 Boulogne-Billancourt France Sandrine Mainemare [email protected] Stephanie Carpenetti [email protected] Agata Olewinska [email protected]

TIMELINE OF ACTIVITIES E3 June 10-12 - Announcement of FURY/WarGaming partnership - Exclusive film footage shown at WarGaming booth 34

CONFIDENTIAL – DO NOT DISTRIBUTE - FURY trailer shared via World of Tanks social media outlets

Tankfest and Bovington Tank Museum June 28-29 - FURY trailer shown at venue - Digital communication via WoT PC and Xbox on Tankfest booth and FURY partnership - Social media exposure

Gamescom August 13-17 - Interview with FURY Director, trailer, and movie footage to be displayed during the event - Announcement of contest promotion to win tickets to the premiere - Digital communication via WoT PC, Xbox, and Blitz regarding contest - Social media exposure

World of Tanks Contest August 13-31 - Participants will create a 30-60 second long World of Tanks gameplay trailer inspired by Fury, the best trailer wins. - Announcement of premiere ticket winner during first week of September winner on September 19th, along with feature of Fury trailer. - Social media and online portal exposure - EN: http://worldoftanks.eu/en/news/pc-browser/45/fury-contest-results/ - FR: http://worldoftanks.eu/fr/news/pc-browser/45/fury-contest-results/ - DE: http://worldoftanks.eu/de/news/pc-browser/45/fury-contest-results/ - TR : http://worldoftanks.eu/tr/news/pc-browser/45/fury-contest-results/ - ES: http://worldoftanks.eu/es/news/pc-browser/45/fury-contest-results/ - CZ : http://worldoftanks.eu/cs/news/pc-browser/45/fury-contest-results/ - PL: http://worldoftanks.eu/pl/news/pc-browser/45/fury-contest-results/

Missions and Premium Shop October – December - Film-themed bonus codes for WoT distributed via social media and online portals - Premium shop- Players can download and play as the Fury tank + crew - Garage decorations- The garage will be an outdoor environment based on the Fury movie, where users can chose their tank and crew. This will feature Fury branded elements to promote the film

Premiere November 14 - Digital communication via portal and social media

BluRay/DVD Sweepstakes February/March 2015 - Sweepstakes promotion for the chance to win a DVD or BluRay of the movie - WoT bonus codes included in DVD/BluRay copies - Exposure via the portals and social media 35

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Media Promotions Guidelines

 The local office can approve all media deal memos and media creative locally using the media promotions template provided by the home office.  Specific media promotions concepts and ideas are provided in the media promotions template.  Following are general guidelines: o Focus on media partner relationships that reach the primary target of male skewing adults 17+. Partners that market and advertise (i.e. TV, Print, Online, etc.) to this demo will be the best reach for media promos for Fury. This also allows the partner to take capitalize on the local market studio support that will be speaking to the same demographic to create a more targeted, cohesive program. o Work with media partners to come up with unique contest entry questions and/or giveaways that are organic to the film property. This will help ensure the media partner and the film stands out in the crowded marketplace among other competitive media promotions. o If a third-party brand is included other than prizing or the promotion doesn’t adhere to the template: Submit deal memos to Ashley Varner with a copy to Becky D’Anna and Ziad Toubassy. . The local office does not need to submit partner prizing deal memos for approval if they adhere to the media template and the following guidelines:  The actors’ names cannot be used in relation to the third party prizing (for example, “Enter to win the helmet Brad Pitt wore in the film!”)  Third party prizing should not be in the following categories typically restricted by talent including alcohol, personal hygiene, tobacco, firearms [all weapons, other than toy weapons], sexually- oriented products, pharmaceuticals, intimate apparel, cosmetics, lotteries and/or gambling, birth control medications, religious or political causes  Media promotions will need to be reported to the home office using the Media Promotions Summary Report template to be provided at later date.

Media Promotions Creative

Final One Sheet  The final one sheet can be used for media promotions. Follow the guidelines provided in the media promotions template.  The final one sheet cannot be edited or altered in any way. There must be a clear dividing line between the key art and the partner logo, product or messaging.

TV Spots/Trailer  Approved TV spots and trailers can be used for media promotions. Follow the guidelines provided in the media promotions template.

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Media Promotions Template A media promotions template will be provided at a later date to assist in the development of creative materials for media promotions including Print, TV and Radio examples.

EXHIBITOR RELATIONS

FURY Release Range: October '14 - February '15 Territories: ALL TRAILER TARGET NOTES Transformers: Age Of Extinction IMAX 3D Priority Deliver Us From Evil Priority Dawn Of The Planet Of The Apes 3D Priority Lucy Priority The Expendables 3 Priority As Above, As Below A Walk Among The Tombstones Priority The Equalizer Priority Gone Girl The Interview Priority Kill The Messenger Priority Dracula Untold Priority TRAILERS RELEASED Trailer Version Quantity Ordered Int'l A 3,784 Int'l C 236 Int'l D 2,296

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IN-THEATRE MATERIALS ONE-SHEET English: 8,758

LAS: 3,115 Date Queried: 6/19/2014 Inwood Shipping Date: 7/3/2014 In-Theatre Date: 7/8/2014

FINAL ONE- English: 7,392 SHEET

LAS: 3,720 Date Queried: 9/5/2014 Inwood Shipping Date: TBD In-Theatre Date: TBD

BANNER English 687 French 65 Castilian 401 German 111 Korean 34 LAS 336 Date Queried: 7/8/2014 Inwood Shipping Date: 7/21/2014 In-Theatre Date: 7/28/2014

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FURY Cont… REVISED English 687 BANNER French 65 Castilian 401 German 111 Korean 34 LAS 336 Date Queried: N/A just matched first order Inwood Shipping TBD Date: In-Theatre Date: TBD

Security Pre-Screening Dates & Invitation Verbiage

 Please find the security info for all Fury pre-release footage screenings and pre- release screenings.

 Please let Josh Farrar know where all screenings will be held, so proper security can be coordinated.

 Night vision goggles are required for every screening.

 Screenings prior to October 16th, 2014 – Full security procedures MUST be in place to include bag checks, wanding, night vision goggles and mobile devices with cameras MUST be collected.

 Night vision goggles are required for every screening

 Please find the proper verbiage for all invitations:

This screening will be monitored for unauthorized recording. By attending this screening, you consent to surveillance by security personnel. By attending, you agree not to bring any recording device (including certain types of mobile devices which have recording capability) into the theater. By attending, you also consent to physical search of your belongings and person for recording devices. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device, you consent to your immediate removal from the theater and forfeiture of the device and its contents. Unauthorized recordings will be reported to law enforcement and may subject you to criminal and civil liability.

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Security Pre-Screening Protocols

PRE-SCREENING SECURITY

All Fury pre-release footage screenings and pre-release screenings shall have the following security protocols. Fury is far too important to Sony Pictures not to protect it to the fullest extent.

PRE-RELEASE SCREENING SECURITY PROTOCOLS

All invitees must be advised in advance that NO mobile phones, cameras or recording devices will be allowed inside the theatre. The invitation must have language to this effect in both the local language and in English. Please also ask your guests to arrive early as this process could slow things slightly. NOTE: security vendors selected to provide security coverage at each theatre must be adequately prepared and staffed to facilitate this both courteously and efficiently.

Prior to theatre entry metal detection devices (hand-held wands) will be used by trained security personnel to screen all attendees to ensure they do not enter with prohibited items. A sufficient number of these wands should be available to ensure all guests are screened within one hour leading up to the start of the film.

At each theatre entrance there should be an area designated to perform wanding of guests with handheld metal detectors and to allow for the check-in of recording devices and all phones.

Security staff should walk through all areas of the theatre (including bathrooms) and the projection booth in each auditorium prior to and during the screening of the film - ideally, one member of staff should remain in the projection booth area while the assembled film is there.

Theatre management should be advised of these security protocols and understand and support them.

FOR THE RUN THROUGHS IT IS IMPERATIVE THAT WE SECURE THE AUDITORIUMS AND PROJECTION BOOTHS.

Although package inspection is mandatory there should be no physical contact between the screener and the guest or the guests' belongings (unless and until they are checking in a camera or a mobile phone).

Security is responsible for ensuring that no unauthorized persons enter the theatre after the film begins and further to re- inspect all items/persons upon their re-entry to the theatre.

Security staff will patrol the theatre and utilize night vision goggles (NVG) to ensure no one is operating a recording device. The size of the audience and the lay-out of the auditorium will determine the number of scopes needed.

In the event someone is observed or suspected of recording the film a member of the SPRI staff will be responsible for responding. Unless there are extraordinary circumstances it is

CONFIDENTIAL – DO NOT DISTRIBUTE preferred that the screening not be interrupted and that the suspect be approached just as the film ends. This will obviously require continual visual monitoring until movie ends.

The local contract security vendor for each venue should provide enough two-way radios to ensure their staff and ours are well connected.

POST SCREENING PROTOCOLS/OTHER

Upon completion of the screening, each print should be broken down, recovered and properly secured.

If you have any questions please email Josh Farrar [email protected]. If you have any specific equipment needs (NVG's/ Metal Detector Wands / etc.) please make that request to Josh Farrar immediately.