The Coors mascot marketing campaign is an innovative strategy used by Coors Brewing Company to promote their beer brand. Introduced in the late 1970s, this campaign featured a fictional character named "Coors Man" who served as the brand's mascot and spokesperson. The main idea behind this marketing campaign was to create a distinct and memorable image that consumers could identify with and associate with the Coors brand. The Coors Man was depicted as a rugged and charismatic figure, often portrayed in outdoor settings such as mountains or forests, which aligned with the brand's emphasis on the Rocky Mountain region where Coors beer was brewed. The use of such imagery helped to reinforce the brand's association with nature and quality. One of the main objectives of the Coors mascot marketing campaign was to differentiate Coors beer from its competitors and to create a sense of loyalty and affinity among consumers.

Mascots

Eager contestants don big heads and furry suits to vie for the title of World's Best Mascot.

Cast

Director Director

Assistant Director Asst. Director

Producers Producers

Executive Producers Exec. Producers

Writers Writers

Casting Casting

Editor Editor

Cinematography Cinematography

Production Design Production Design

Art Direction Art Direction

Set Decoration Set Decoration

Visual Effects Visual Effects

Composer Composer

Sound Sound

Costume Design Costume Design

Makeup Makeup

Country

Language

Alternative Titles

Maskotki, קמעות, Талисмани, Μασκότ, 吉祥物, 마스코트, Талисманы

Genre

Themes

Releases by Date

Premiere

10 Sep 2016

• Canada Toronto International Film Festival

09 Oct 2016

• UK BFI London Film Festival

Theatrical

11 Oct 2016

Digital

13 Oct 2016

• Germany 12
• USA

Releases by Country

Brazil

11 Oct 2016

• Theatrical

Canada

10 Sep 2016

• Premiere Toronto International Film Festival

Germany

13 Oct 2016

• Digital 12

UK

09 Oct 2016

• Premiere BFI London Film Festival

USA

13 Oct 2016

• Digital Netflix

One of the main objectives of the Coors mascot marketing campaign was to differentiate Coors beer from its competitors and to create a sense of loyalty and affinity among consumers. By giving the brand a mascot, Coors aimed to establish a personal connection between consumers and the product, making it more than just a beverage but a part of their lifestyle. The campaign proved to be highly successful, as it not only helped Coors gain a larger market share but also increased brand awareness and recognition.

Popular reviews

Action! - Three Auteurs: Guest Is Gonna MockU Down Christopher Guest returns to the world of mascots in what is so far his latest film, but instead of the competition in which our furry little companions do their best, this time we enter the world of people who, disguised, seek to cheer up the audience, primarily in a sport or, as depicted in the film, a company. At the same time, we keep tabs on a small group of these individuals, each with their own unique blend of charming quirks and irksome traits. Again, there are comedic moments and banter, and many attempt to bring their A game, especially at the presentations themselves, when there is plenty of some creativity;…

It should be illegal to cast Chris O'Dowd and not have him do a single funny thing. This was released in 2016 and the funniest part was Fred Willard making fun of a midget.

Woof, I really don’t know what went wrong with this one. Firstly I do want to praise the cast as I seem to always do with Christopher Guest’s films. The ensemble cast here is great. The returning cast from other Guest classics are : Parker Posey, Jane Lynch, Michael Hitchcock, John Michael Higgins, Jennifer Coolidge, Harry Shearer and the two funniest people in the film, Ed Begley Jr. and the late Fred Willard. Guest also introduces some great newcomers into his Mockumentary world. The newcomers include : Zach Woods, Sarah Baker, Chris O’Dowd, Tom Bennet and Kerry Godliman among many others. The cast itself is spectacular but as I already said, the standouts are definitely Ed Begley Jr. and the…

TIFF 2016 Film #8 Mascots is a fun mokumentary from Christopher Guest. A lot works, but there's also a lot that does not. For the most part it's enjoyable. Could have been better, but it could have been worse.

Mascots

As someone who treasures her 20-year-old “Waiting for Guffman” plastic lunch box, I have been eagerly awaiting the arrival of Netflix’s “ Mascots.” The fifth of filmmaker Christopher Guest’s string of comical faux documentaries (not counting the heavy-metal spoof "This is Spinal Tap,” which he starred in and co-wrote with Rob Reiner directing) that examine insular communities whose members share an obsession—including dog-show competitors (“Best in Show”), ‘60s folk artists (“The Mighty Wind”), unlikely Oscar hopefuls (“For Your Consideration”)—is his first in a decade.

That Guest uses the occasion to briefly revive his portrayal of “Waiting for Guffman’s” fabulously flamboyant Corky St. Clair, the Broadway wannabe who ruled a small-town theater troupe like a cross between Bob Fosse and Dame Edna, should be reason enough to toss confetti.

The wacky world of sports mascots vying for the Golden Fluffy in Anaheim, Calif., at least sounds as if it should fit right into Guest’s formulaic sweet spot. As usual, the hit-or-miss ratio of the humorous repartee relies greatly upon the improvising skills of the cast and the spontaneous off-kilter references that result. Those that pop up here include a religious cult based on Michael Landon’s ‘80s TV series “Highway to Heaven,” the existence of a Rhea Perlman Middle School and, for fans of “The Alamo,” a chain hotel that offers both a plush “John Wayne Suite" and a downgraded “Slim Pickens” room.

And no such effort would be complete without yet another cheerily clueless and horrifying politically incorrect Fred Willard performance, this time as a mascot coach who insultingly interrogates a little person (Brad Williams) about how he got small enough to fit into his worm get-up. He patiently breaks it to him that he was born this way.

But as we are introduced to the main contestants and learn their back stories as a build-up to the main competition, the stale scent of been-there, mocked-that begins to permeate. Matters start off well enough as we are first introduced to two new recruits to Guest’s acting company: Zach Woods, whose eyes look like two nervous fried eggs that are about to burst, and Sarah Brown as Mindy, a tightly wound bundle of spousal passive aggression. They can run in their turtle and octopus guises as baseball mascots, but they can’t hide from the hostile undercurrents in their relationship as they talk directly to the camera.

“Mascotting is not unlike a marriage,” Mike observes. “It’s about cooperation, it’s about listening, even if people are screaming at you, you’re not allowed to talk. And that’s a good lesson for a marriage.” Right after this statement, we hear him nervously ask the doctor treating his sore knee if he can prescribe anti-depressants.

Too often what should be humorous instead comes off as disturbing psycho drama, deflating potential belly laughs to mere chuckles. Most of the foam-headed characters engaging in this blend of cheerleading and cosplay are varying degrees of damaged goods. They need the validation of a trophy and they need it desperately. Among those we get to know are Chris O’Dowd, who starred in Guest’s HBO show “Family Tree,” as the self-proclaimed bad boy of mascotery whose brawling hockey-skater alter ego is a gigantic fist that comes off like an unleashed Id on steroids; Tom Bennett (also a “Family Tree” alum) as Sid the Hedgehog, a sweet British lad who inherited the gig from his imposing dad (Jim Piddock, Guest’s co-writer) who forbids any detours from tradition; Guest regular Parker Posey as a fading Blanche DuBois type behind Alvin the Armadillo, who does modern dance moves and dons aviatrix headgear while representing a school named after Amelia Earhart; and Christopher Moynihan’s Mario Bros.-like Jack the Plumber, most notable for injecting bathroom gags into the proceedings.

Other returnees to the fold are the always-welcome Jane Lynch as a haughtily entitled judge whose claim to fame as the retired Minnie the Moose was doing a split for an entire extra-inning baseball game. She has since found religion, as recounted in her memoir “A-Moosing Grace.” Her bitter rival is a grousing Ed Begley Jr. as the onetime Danny the Donkey, whose groundbreaking anatomically correct costume was compensation for his own less-than-manly attributes. But more disappointing are Jennifer Coolidge doing yet another variation on a trophy-wife floozy and Bob Balaban as her sugar daddy.

I don’t know if Guest should be applauded for addressing the issue of offensive sports team names and touching upon the subculture of Furries— those who don plush animal costumes, often for sexual pleasure—since these subjects don’t add much to the story. As the pre-contest antics grew tiresome, I kept anticipating what is often the most entertaining part of these pseudo docs: Seeing the cast actually perform in an amateurish stage musical, leading prancing purebred dogs around an arena, singing and playing instruments, or appearing in an unlikely movie called “Home for Purim.” But this time, given the difficulty involved in many of the routines, costumed stunt doubles fill in instead. Such masked anonymity simply kills the thrill of the final outcome.

Missing in action are two masters at bringing such improvised oddball creations to life while investing them with enough emotional depth so that we can care and root for them: Eugene Levy and Catherine O’Hara, who are the king and queen of this peculiar comedy genre. In fact, O’Hara was just about the only reason to applaud “For Your Consideration.” Her portrayal of a veteran of B-grade movies who suddenly finds herself an inexplicable recipient of Oscar buzz, was as heartfelt as it was hilarious—and she even managed to give herself a bad face lift by simply by shifting her own facial muscles.

As hard as it is to admit, Guest’s once-incisive satirical bite has grown dull in its familiarity. He doesn’t seem to be having as much fun here and neither are we. Perhaps it’s time to move on. Besides, we’ll always have “Waiting for Guffman.”

Mascot cast

Zach Woods Mike Murray

Wayne Wilderson Dr. Harper James

Sarah Baker Mindy Murray

Michael Hitchcock Langston Aubrey

Tom Bennett Owen Golly, Jnr.

Kerry Godliman Sarah Golly

Parker Posey Cindi Babineaux

Chris O'Dowd Tommy 'Zook' Zucarello

Suanne Spoke Cavaliers Owner's Wife

Steven M. Porter Cavaliers Owner

Christopher Moynihan Phil Mayhew

Hayes Mercure Football Player

John Michael Higgins Upton French

Maria Blasucci Jessica Mundt

Suzi Barrett 'Does This Smell Normal' Woman

Ryan Gaul 'Does This Smell Normal' Man

Matt Griesser Andy Dibble

Brooke Hasalton Bushwackers Lap Dancer

Jim Piddock Owen Golly, Sr.

Adam Karchmer Monty Murray

Zoe Provenzano Maggie Murray

Karly Rothenberg Mindy's Mother

Susan Yeagley Laci Babineaux

Tim Baltz South Dixie Air Ticket Agent

Carrie Aizley Robyn Wexler

Ed Begley Jr. A.J. Blumquist

Kathreen Khavari Las Palmas Inn Desk Clerk

Jane Lynch Gabby Monkhouse

Ithamar Enriquez Chicharito's Bouncer

Marilyn Mark Chicharito's Waitress

Crafty St. James Gabby's Fan

Tommy Bechtold Gabby's Fan

Lindsey Warm Gabby's Fan

Scott Williamson Bruce Van Wyck

Don Lake Buddy Campbell

Fred Willard Greg Gammons, Jr.

Christopher Guest Corky St. Clair

Jennifer Coolidge Jolene Lumpkin

Bob Balaban Sol Lumpkin

Harry Shearer Competition Announcer (voice)

Morgan Obenreder Nanny

Vic Chao Bumblebee (uncredited)

Ross Kimball Police Officer

Crew 37

Art

Chase Carter Art Direction

Richard Carter Production Design

Damaris Dragonas Set Decoration

Jennifer Durban Set Decoration Buyer

Billy Sender Set Dresser

Danny Metz Set Dresser

John Bratton Set Dresser

John Tedlie Set Dresser

Camera

Kris Kachikis Director of Photography

Costume & Make-Up

Christine Wada Costume Design

Phyllis Corcoran-Woods Costume Supervisor

Amy Lederman Makeup Artist

Don Rutherford Makeup Artist

Tracey Levy Makeup Artist

Gigi Williams Makeup Department Head

Alexis Scott Set Costumer

Cesha Ventre Set Costumer

Hana Scott-Suhrstedt Set Costumer

Heather Karasek Set Costumer

Marina Marit Set Costumer

Steve Constancio Set Costumer

Directing

Christopher Guest Director

Jody Spilkoman First Assistant Director

Editing

Andrew Dickler Editor

Lighting

Christopher Ferguson Lighting Programmer

Production

David Rubin Casting

Ben Ormand Executive Producer

Jim Piddock Executive Producer

Pauline Fischer Executive Producer

Sarah Perlman Bremner Executive Producer

Karen Murphy Producer

Ted Sarandos Producer

Sound

CJ Vanston Original Music Composer

Hamilton Sterling Supervising Sound Editor

Visual Effects

Christian Cardona Visual Effects Supervisor

Writing

Christopher Guest Writer

Jim Piddock Writer

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The Coors Man became a recognizable figure, often appearing in advertisements, promotional materials, and even on merchandise such as t-shirts and hats. This further solidified the brand's identity and created a sense of belonging among consumers. In conclusion, the Coors mascot marketing campaign was an effective strategy employed by Coors Brewing Company to promote their beer brand. By creating a distinct and memorable character, Coors was able to differentiate itself from competitors, increase brand loyalty, and establish a personal connection with consumers. The success of this campaign is evident in the enduring popularity of the Coors Man and the continued success of the Coors brand..

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