Prepared for Jules · In Spite of Ourselves
September 2026
September 2026
A Rock & Roll Hall of Famer. A dozen bands. A Hollywood voice actor. Spotlight has run the hard part of a film launch, getting people with an audience to bring it to their fans, and measured every post. Here's the work, then how we'd run yours.
Three Chord was founded by Neil Giraldo: Rock & Roll Hall of Fame guitarist, producer, Pat Benatar's musical partner for four decades. He is the brand, and his fans were the first audience.
Spotlight cut the brand film into captioned social video with Neil's narration, built the ads around him on camera, and ran his signed-bottle drops as limited releases to his own followers first, then to whiskey audiences that looked like them.
The lesson we'd bring to a film: the person people already follow is the most efficient media you own. Build the creative around them, then let paid find more people like their fans.
Three Chord pairs a bourbon with a band: the Allman Brothers Band, Halestorm, Underoath, Dinosaur Jr, Taking Back Sunday, Atreyu, Black Stone Cherry, Fu Manchu, Drake White, Michael Ray, Lucero and The Cadillac Three. Spotlight ran every edition as its own release.
Every drop got copy in the band's first person for its fans ("Freaks! We've partnered with Three Chord again…") and in the brand's voice for whiskey drinkers, published from both pages and tagged to every member.
Per-band audiences opened each launch. Purchasers and 30-day engagers were retargeted. Lookalikes of buyers scaled the winners. Band-specific Black Friday sets ran 4.6× to 8.6×.
A signing-event campaign put Underoath's Aaron Gillespie in a Nashville shop; in-store QR and city-level "find a bottle" ads tied the digital launch to physical moments. Release parties work the same way.
Steve Blum is the voice of Spike Spiegel in Cowboy Bebop, Wolverine in Marvel animation, and hundreds of other characters; Guinness has recognized him as the most prolific video-game voice actor. Spotlight ran the paid program for his online voice-acting studio.
The creative that worked led with Steve, not the product: top, middle and bottom-of-funnel video ads with him on camera, thumbnails built from roles fans recognized instantly, and seasonal pushes for Cyber Weekend, holiday gift memberships and live workshops.
Filmland's whiskeys are packaged as fictional B-movies: Moonlight Mayhem 2, Ryes of the Robots, White Port Wolf. Spotlight built the paid-social creative around the premise: pre-order "premiere" launches with virtual-tasting hooks, holiday offers styled as one-sheets, and an evergreen lineup that reads like a poster wall. Key art, turned into social units, on a launch cadence, with the medals doing the talking when the movie joke has landed.
You bring the story and the raw material: first-draft copy, stills, clips, trailer, key art, and a point of contact for each actor's socials. Spotlight turns it into platform-native content, publishes it on the film's accounts and, with permission, the cast's, works directly with the actors' agents, managers and publicists on access and approvals, finds and briefs creators and influencers to talk about the film, runs paid only if the team wants it, and reports every week in plain English. Your cast already includes comedians who make short-form content for a living, and the film has a food-and-place story (a Michelin-starred director, a Portland baker, LA) that most rom-coms don't. Both are content engines we'd build around.
The timeline below is a starting shape, not a schedule. Phases stretch or compress with the release date, the assets, and what the team needs. We're a lean crew, so we can move faster or change direction without a layer of approvals or a drop in quality.
Paid is a maybe. Posting isn't. This is the part that runs every week whether or not an ad ever goes live.
The cast (intros, bits, the comedians being comedians). The world (the bakery, Portland, LA, a Michelin-starred director who cooks). Behind the scenes (stills, on-set clips, director's notes). The moments (trailer drop, premiere, release parties, where to watch). Every post belongs to one of these, so the feed reads like a story instead of a stream of reminders.
Jules's drafts become captions in the film's voice. Trailer and set footage become Reels and TikToks with captions and cover frames. Stills become carousels and Stories. Cast clips become Collab posts. Four to six posts a week per platform on Instagram, Facebook and, if the team wants it, TikTok, approved in weekly batches.
We handle comments and DMs in the windows that matter, seed the film with creators and film accounts, and log it on Letterboxd. Weekly report on what organic actually moves: reach, engagement, saves, shares, follower growth and link taps to tickets or the watch page. If paid comes in later, it starts from the posts that already worked.
Instagram and Facebook let two accounts co-author one post. It appears on the film's feed and the actor's, with one tap of approval from the actor. No login sharing; reach is pooled.
For actors who want us posting for them: Meta Business Suite partner access and platform roles. Scoped, logged, revocable the moment the campaign ends. We never ask for passwords.
Pre-sized clips, stills and suggested captions delivered to each actor or their rep on a schedule, so posting takes thirty seconds. Best for cast with publicists or tight control of their feeds. We handle the back-and-forth with agents and managers so you don't have to.
We'll return a scoped proposal with pricing options within two business days, built around the team's actual goals and budget instead of assumptions. We're LA-based and happy to meet in person with you or the filmmakers whenever that's useful. The written approach brief came with this link.