In an era where traditional film financing models are being disrupted, innovative filmmakers are turning to an unexpected source of funding: brand marketing. This symbiotic relationship between brands and filmmakers is not only helping to finance compelling stories but also enabling major brands to connect with audiences in unprecedented ways.

At the forefront of this revolution is Jonas Barnes, a veteran film and television producer with over two decades of experience. Having worked on blockbuster franchises like Fast & Furious and Sonic the Hedgehog, Barnes is now pioneering a new approach to branded entertainment that goes far beyond simple product placement.

His vision is reshaping not only how stories are told, but also how brands are perceived and how audiences engage with content. In this exclusive interview, Barnes shares his insights into this game-changing strategy, revealing its potential to transform both the film industry and the brand marketing landscape.

Jeff Rivera: Jonas, can you give us a little background about who you are and what led you to where you are right now?

Jonas Barnes: Absolutely. I’ve been in the feature film and television business for over two decades now. During that time, I had the privilege of working with Neal Moritz, one of the top producers in the world, at his company, Original Film. Our focus was on creating high-concept films for a younger audience—what we’d now call Gen Z. We collaborated with major studios like Paramount, Sony, Universal, and others.

At Original Film, my role spanned Development, Production, and innovation. I was involved in figuring out how to make our movies not only better, but also how to get them produced more efficiently—faster and at lower costs.

You’ve worked with some of the biggest films of our generation. Can you talk about some of those films?

Absolutely. We’re talking about SWAT, Fast & Furious, and Sonic the Hedgehog, which is now one of the biggest franchises in the world. The films we typically work on are either based on existing IP or have a huge concept that really resonates with people. Our goal is always to create movies that not only appeal to a broad audience but also turn viewers into fans who want to rewatch the films again and again.

When I first started, we were working on movies like Cruel Intentions, I Know What You Did Last Summer, and The Skulls—all in the $10 to $20 million range, targeting the teen market. Fast & Furious was also originally aimed at teens, and of course, it’s grown into what it is today.

On the TV side, we have a huge department as well. The Boys is one of the most popular shows on Amazon, and we also did Goosebumps, both the movie and the TV series.

Jonas, were you always this successful or did you have a journey to get where you are?

In the film and TV business, every new movie feels like starting over. People assume that having a big brand behind you means instant trust, but in reality, it just means you’re working with bigger names—and they often have their own priorities, making it harder to get things moving. So, in simple terms, each film is like a fist fight.

One example of this was when I made a low-budget action movie called SWAT: Under Siege. At that point, I wanted to strike out on my own and really see what it was like when everything was on me. That movie almost died three or four times—I’m talking completely dead, buried under the rubble. My first reaction was probably to cry a little, but then I got up and said, “Not today.” And I think you need that kind of mindset when you’re making movies or TV shows. It’s so easy to get distracted or give up, but you have to push through.

You’ve become a master of pivoting in this industry. One of the areas that you’ve pivoted into is with brands. Can you tell us a little about what you’ve been doing with brands and what opportunities there are?

I actually got into this during last year’s strike when a friend reached out about shooting some commercials based on famous movies. These commercials were targeted at a Gen Z audience and were essentially mini movies. They performed incredibly well—completion rates were 5,000% higher than usual, and click-through rates were 300% higher. That’s when I realized there was a real demand for this kind of content.

I dug into why they performed so well and realized they were essentially proof-of-concept pieces for much larger films, as well as effective ads. It was a way to A/B test content in a fresh and engaging way. I also noticed that branded entertainment is still in its early stages—there’s a significant gap between the marketing world and the film/TV world. That got me thinking: wouldn’t it be great if a brand could tell its story directly, but with the help of an actual filmmaker like Neal Moritz, rather than just relying on product placement toward the end?

When you talk about branded entertainment, you’re not talking about just product placement, putting a product in a scene. Can you explain the difference between what you’re doing and sort of a premium storytelling compared to sticking a bag of potato chips in a scene?

Exactly. Most of the time, brands get involved in a movie after it’s already shooting, or even after it’s been shot. There are VFX companies now that can insert your brand into a scene that’s already filmed. But I don’t think that’s as valuable as involving the brand from the beginning and asking, “What’s the story you want to tell about your brand? Or what story do you want your brand to be a part of?”

It doesn’t have to be a movie about the brand. You could have a lead character who loves the product, but the story focuses on something else entirely. This allows the brand to tell its story and communicate its values over the course of a 90- to 120-minute feature film. That’s a lot more impactful than just having the product sitting on a table in scene 57.

Also, just the association with certain films adds value. I’m having conversations with companies you wouldn’t normally associate with branded entertainment. These companies are doing a ton of marketing and are eager to get their message out in a positive way, showing the world what they’re really about.

For the potential clients and brands who are reading this, and they’re kind of on the fence about whether they should allocate their funds in one direction or another, what would you say to them about why they should really give this first thought about working with you in particular in this manner?

Well, first of all, we have a proven track record. We’ve generated $12 billion in theatrical sales alone, and our movies are constantly playing on TV and streaming platforms. Our shows and films consistently perform. SWAT, for example, is the number one show on CBS on Friday nights and the second most-watched show on Netflix, right behind Suits. So, our content travels extremely well, and I think any company considering a partnership should look at the long-term benefits of what they’re investing in.

Secondly, any brand that’s spending $100 million or more annually on marketing should seriously consider having a film and TV division. The entertainment industry isn’t going anywhere—it’s just evolving. What better way to get your product out there, align it with well-known personalities, and showcase it over 30 to 90 minutes in a glamorous way?

I see this as the future of marketing. All marketing is storytelling now, and there’s no better medium to tell a story than through a movie or TV show. While short-form content is popular on platforms like YouTube, people truly engage when they sit down and watch a long-form story on Amazon Prime or in a movie theater. That’s where their attention is fully focused, and that’s where brands can make a lasting impact.

Let’s speak to micro filmmakers who have got budgets of $50,000, maybe a hundred thousand, maybe even $10,000. How could working with brand entertainment be a possibility for them? Maybe not Mattel, but maybe their local toy store or some other way of replicating this type of model on a much smaller scale.

First of all, big companies like Coke don’t really need branded entertainment—they have entire divisions dedicated to it. They’re at the top of the food chain. But for the companies below them—say, any soft drink company that isn’t number one—they’re the ones trying to get to that level. Working with those companies is actually much easier because they need something: they need to boost their sales, raise awareness, and take market share.

There’s a huge opportunity for filmmakers to align with these kinds of brands. It has to make sense for the product, of course. Right now, many brands are investing heavily in documentaries, especially those with a message that resonates with them. If your film aligns with their values, they’ll often just fund it without expecting a direct return on investment.

As a filmmaker, you should pursue dollars in the branded entertainment space. Not only does it bring funding to your project, but it also creates awareness. For example, if you’re making a movie about motorcycles and you get Monster Energy involved, simply having their logo in your film raises your project’s profile. And if Monster Energy promotes your trailer on their platforms, that’s free advertising for you and benefits them as well.

For the micro filmmaker who maybe is going after the local toy store, the local toy brand for something that they were doing, maybe it’s a kids show or something, a kids movie. And it’s a company with 100 people or less. Who are they contacting? How are they contacting them? And what are they saying?

You’re most likely reaching out to someone in the marketing department—maybe the CMO, head of digital marketing, or head of social media. These people will connect best with your storytelling, and they’re the ones who will take it to the CFO or CEO. Social media managers are always online, so they’re the easiest to DM or contact directly. You can say something like, “Hey, I’m making a movie about X. I’m looking for investment or a brand sponsor.”

Along with that, you need to have something to show them. Maybe shoot a quick 30-second teaser or have a solid poster ready. One of the keys to our success is the “poster first” approach, where we sell the concept of the movie in a single image before we even attach actors. In today’s market, you need to capture someone’s attention incredibly fast—used to be seven seconds, now it’s probably closer to half a second before they move on.

So, you need something visual that grabs them—just like it would your audience. Avoid too much text. Pitch simple ideas they can quickly say yes or no to, like, “That’s a cool image” or “That’s an interesting 30-second trailer.” And with AI tools available now, there’s really no excuse not to have some sort of visual package to help get your idea out there.

Is there anything else you’d like to share with the readers, the listeners, the viewers about what you’re doing in particular that you would love to share with them?

I think one of the smartest things you can do these days is find a niche. If you’re into horror, focus on the horror market. If action is your thing, focus on that. The same goes for comedy. Pick your lane, and then focus on two key things: first, create great content tailored to that market; second, really get to know that market—become a part of those communities.

Because you’ve chosen a niche, there are only a handful of places you need to target. You can go on Reddit, Facebook, Instagram, TikTok, and other platforms, and start building an audience before your movie is even made. In today’s world, you can reach your audience directly—you don’t need a big studio to get your message out there. You can start building your presence and cultivating a following on your own.