When Ynon Kreiz arrived at Mattel in April 2018, the newly put in chief govt had one mantra when it got here to a function movie starring Barbie, a undertaking he actually needed to get off the bottom: He didn’t care if the film offered a single further doll.

However “Barbie” the movie needed to be good and a success. It needed to be completely different. It needed to break molds.

And if that meant turning the chief govt of Mattel — i.e., himself — into the item of comedian ridicule within the portrayal of the chief govt character within the movie (“useless and silly to the nth diploma,” as The Guardian put it), then so be it.

That method has paid off to a level that even Mr. Kreiz might hardly have believed attainable. “Barbie” is near grossing $1.4 billion and handed one of many “Harry Potter” films because the top-grossing Warner Bros. movie of all time. It might find yourself close to the $2 billion mark. (The record-holder is 2009’s “Avatar,” at $2.9 billion.)

How Mattel pulled off a feat that had eluded the corporate for years was the topic of latest interviews with Mr. Kreiz; Robbie Brenner, Mattel’s govt producer of movies; spokespeople for Margot Robbie and Greta Gerwig, the movie’s star and its writer-director; and others accustomed to the doll’s generally tortuous path to the large display screen.

Mattel and Warner have jealously guarded their monetary preparations. However folks with information of their settlement mentioned Mattel earned 5 % of the field workplace income, in addition to a share of eventual income as a producer of the film and extra funds as proprietor of the Barbie mental property rights. At $2 billion in field workplace income, that quantities to $100 million. As well as, there are gross sales of merchandise related to the film in addition to an anticipated enhance in gross sales of dolls.

Representatives for Mattel and Warner declined to touch upon the monetary preparations, although Mr. Kreiz mentioned in the course of the firm’s earnings name in July that movie-related Barbie merchandise had already offered out all through his firm’s distribution channels.

Though Barbie outcomes weren’t mirrored in Mattel’s newest earnings, launched July 26, all anybody needed to speak about on the earnings name was “Barbie.” Mr. Kreiz hailed the movie as a “milestone second” within the firm’s technique to “seize the worth of its I.P.” and exhibit its potential to draw and staff up with prime artistic expertise — a cornerstone of its formidable slate of extra toy-themed films.

After the primary “Barbie” trailer — exhibiting a hyper-blond, Day-Glo-clad Ms. Robbie and Ryan Gosling skating alongside Venice Seaside — went viral in December, anticipation began constructing. Mattel inventory has been on a tear. It has gained 38 %, from $16.24 on Dec. 19 to this week’s $22.30. The S&P 500 rose 8 % over the identical interval.

Wall Avenue has been reluctant to provide a lot credit score to at least one hit, on the idea that such success is tough to copy. (“Barbie” has had no discernible affect on Warner Bros. Discovery’s inventory worth.)

However for Mattel, the constructive affect of “Barbie” goes far past only one movie. The corporate’s yearslong technique to change into a significant movie producer, utilizing its huge storehouse of toys as mental property, was met in Hollywood with skepticism, if not outright mockery. A-list expertise wasn’t lining as much as direct an opulent purple dinosaur like Barney. However now the notion that Mattel’s management is keen to belief and assist an unorthodox artistic staff that delivered each a field workplace bonanza and a attainable awards contender has radically altered that.

And Mattel’s shocking willingness to make enjoyable of itself was one of many components that largely delighted critics and added to the excitement that roped in lots of extra moviegoers than the “Barbie” fan base.

That Mr. Kreiz was keen to snigger at his personal caricature got here as one thing as a shock to some acquaintances and former colleagues. An Israeli army veteran with twin Israeli and British citizenship, a former skilled wind surfer, an avid kite surfer and a health buff, with greater than a passing resemblance to a youthful Arnold Schwarzenegger, the 58-year-old Mr. Kreiz comes throughout as extra of a square-jawed G.I. Joe motion hero than a Barbie fan with a humorousness.

Mr. Kreiz’s whole profession was in media and leisure, not retail. His longtime mentor, the Energy Rangers entrepreneur and billionaire Haim Saban, employed him contemporary out of the College of California, Los Angeles, to launch Fox Youngsters Europe, a three way partnership with Fox. He later ran Maker Studios, a YouTube aggregator, which Disney acquired in 2014. Mr. Kreiz left in 2016, and Maker was folded into the Disney Digital Community in 2017.

That “Barbie” even obtained made was no small feat. It had languished at Sony for years, with Mattel routinely renewing the choice, as numerous writers struggled to adapt the doll for the large display screen. Though one of the crucial standard toys ever, Barbie was the topic of intense controversy, seen each as an emblem of feminine empowerment and as an unattainable commonplace of magnificence and femininity. The one possible method appeared a parody. The comic Amy Schumer was as soon as slated for the half. However scripts got here and went.

Weeks after turning into chief govt in 2018, Mr. Kreiz refused to resume the Sony possibility, based on a number of folks interviewed for this text. He referred to as Ms. Robbie’s agent and requested for a gathering. Ms. Robbie was among the many most sought-after younger actresses in Hollywood, contemporary from acclaimed performances in various roles — because the ill-fated ice skater Tonya Harding in “I, Tonya”; in Martin Scorsese’s “The Wolf of Wall Avenue”; and as a fixture in Warner’s DC Comics universe as Harley Quinn, the Joker’s former girlfriend. And whereas no human might replicate Barbie’s exaggerated dimensions, Ms. Robbie got here moderately shut, whereas additionally radiating healthful magnificence.

Ms. Robbie was concurrently reaching out to Mattel and Mr. Kreiz after studying that the “Barbie” possibility hadn’t been renewed. She was in search of a possible franchise to take to Warner, the place her manufacturing firm, LuckyChap, had a first-look deal. However she wasn’t trying to star within the movie herself.

Over breakfast on the Polo Lounge on the Beverly Hills Lodge, the plush leisure and superstar hangout not removed from Mattel’s much less glamorous El Segundo headquarters, Mr. Kreiz shared his imaginative and prescient: He didn’t need to make films so as simply to promote toys. He needed one thing contemporary, unconventional, daring.

“Our imaginative and prescient for Barbie was somebody with a robust voice, a transparent message, with cultural resonance that might make a societal affect,” he mentioned, recalling his message.

Mr. Kreiz’s apparent enthusiasm and dedication, and his pitch for artistic integrity make him onerous to withstand, as Ms. Brenner, an govt producer, found when he recruited her to run the newly created Mattel movie division throughout one other meal on the Polo Lounge. Ms. Brenner, a revered producer and an Academy Award nominee for “Dallas Consumers Membership,” was drawn to his concept for the film. In Mr. Kreiz’s imaginative and prescient, Mattel can be as a lot a film firm as a toy firm. The 2 bonded after he requested her who ought to play Barbie, and he or she, too, volunteered Ms. Robbie.

At their first assembly, Ms. Robbie steered Ms. Gerwig for the director. The 2 had been mates and had talked about working collectively. Mr. Kreiz cherished the concept partly as a result of it was so surprising — Ms. Gerwig had directed and written acclaimed however offbeat unbiased movies like “Frances Ha,” “Woman Chook” and a brand new tackle the basic “Little Girls,” however no big-budget fare.

“Woman Chook” was one in every of Ms. Brenner’s favourite films. However would Ms. Gerwig contemplate such a mass-market, business proposal?

Ms. Gerwig, it turned out, had performed with Barbie dolls and cherished them. She even had previous images of herself taking part in with Barbie. Ms. Brenner met with Ms. Gerwig and her associate, Noah Baumbach, additionally an acclaimed screenwriter and director, at an modifying facility in New York. They kicked round a couple of concepts, however nothing concrete emerged. Something appeared attainable.

A deal was struck, and Warner signed on as co-producer. As soon as Ms. Gerwig was on board, Ms. Robbie agreed to star.

At which level Ms. Gerwig and Mr. Baumbach retreated. “I do know it’s not standard and never what you’re used to, however we’ve got to enter a room for a couple of months. That’s how we work and need to do it,” as Ms. Gerwig put it, Mr. Kreiz recalled.

When the script did land in Ms. Brenner’s e mail, it was 147 pages — the size of a Quentin Tarantino movie, epic by Hollywood requirements. She closed her workplace door and began studying. “It was like happening this loopy trip,” she recalled. It broke guidelines, together with the so-called fourth wall, addressing the viewers straight. It poked enjoyable at Mattel.

New to the corporate, Ms. Brenner didn’t know if this could show an excessive amount of for Mattel executives. However she believed it was a fantastic script.

Ms. Brenner’s first name was to Mr. Kreiz. “I’ve learn a variety of scripts, and that is so completely different,” she informed him. “It’s particular. You don’t get this sense many occasions in a whole profession.”

Mr. Kreiz learn the script twice, again to again. “It was deep, frightening, unconventional and imaginative,” he mentioned. “It was every thing I hoped it might be.”

Ms. Brenner was pleasantly stunned. “Ynon is a really assured individual,” she mentioned. “He can snigger at himself.”

At one level Mr. Kreiz flew to London, the place “Barbie” units had been being constructed at Warner’s studio outdoors town. He and Ms. Brenner spent a half-hour discussing the proper shade of pink.

Mr. Kreiz and Ms. Robbie knew they’d a possible hit. “It was our secret that we couldn’t speak about,” Ms. Brenner recalled.

The unique price range goal of $80 million jumped above $120 million as soon as Ms. Gerwig was signed. However even that wouldn’t understand the director’s full imaginative and prescient for the movie. For Warner executives it was a battle to search out what are often known as “comps,” comparable movies that had grossed sufficient to justify such an outlay.

Would “Barbie” be one other “Charlie’s Angels” from 2019 — which was budgeted at $55 million however grossed solely $73 million and, after advertising prices, misplaced cash? Or one other “Surprise Girl” from 2017, budgeted at over $100 million, with a worldwide gross of $822 million?

Ultimately the price range hit $141 million and, with some reshoots, in the end topped $150 million.

On opening night time, July 21, Mr. Kreiz took his 19-year-old daughter to the Regal cinema complicated at Union Sq. in Manhattan. As they neared the theater, droves of moviegoers — and never simply younger ladies — had been heading to it in pink outfits. 5 screenings had been in progress. All had been offered out.

Mr. Kreiz and his daughter dropped out and in to gauge viewers reactions. Folks laughed, applauded and in a couple of circumstances shed tears.

In fact the success of “Barbie” has drastically raised the bar — and expectations — for Mattel’s films in growth, beginning with “Masters of the Universe,” written and directed by the brothers Adam and Aaron Nee. Twelve extra movies are in numerous levels of growth, together with a “Sizzling Wheels” produced by J.J. Abrams, additionally at Warner. A few of these could have to be rethought.

And there’ll little question be “Barbie” sequels, maybe even a James Bond-like franchise, which might be Mr. Kreiz’s final fantasy (though he mentioned it was too quickly to debate any such plans).

Mr. Kreiz acknowledged that in a notoriously fickle and unpredictable enterprise, future success is hardly assured. However “Barbie” has given Mattel momentum — the start of what he calls “a multiyear franchise administration technique.”