A movie trailer is a work of art in its own right, distinct from the movie it has to advertise. The best trailers entice you to watch the entire film without revealing too much, creating a kind of excitement towards the film and giving the audience a tantalizing taste of the final product that leaves the desire to want more. Making the perfect cinematic trailer is no small feat: successfully executing this job requires planning, perseverance and a slightly different set of skills than those required for making a feature film.
Steps
Part 1 of 3: Organizing a Basic Trailer
Step 1. Start with short shots showing information about the production company
Think back to the last cinematic trailer you saw: unless it was made for an indie film, on an extremely low budget, it is very likely that the first thing you saw appearing in the trailer was not an excerpt from the film itself but, on the contrary, a few short shots showing the logos of the studio that produced the film, of the production company and of the distributor, and so on. As short as they are, these images are important: the people involved in making the film want to receive due credit for the time and money they invested - so don't forget them.
- Note, however, that you don't necessarily have to wait for these images to finish moving onto the screen before you start introducing the film to your audience. In fact, most trailers use the precious seconds it takes to display these logos to trigger the music that determines the atmosphere of the film (see below for more information about it) and / or the dialogues taken from the film itself.
- Also note that, in rare cases, the standard studio and / or production company logos are creatively modified to match the atmosphere of the trailer. For example, the original employee trailer… bad! (1999) shows the emblematic 20th Century Fox logo "with gold text and reflectors" printed with a photocopier.
Step 2. Determine what the mood, genre, and protagonist are
Don't waste time introducing the audience to the basic facts of the film. Within the first ten or thirty seconds of the trailer, the audience should get a rough idea of the type of film being presented, who is the protagonist and the kind of atmosphere of the film (for example, eerie, lighthearted, ironic, etc.). There is no single "right" way to do this, but trailers often accomplish this by showing a quick clip of the protagonist saying or doing something that clearly establishes the overall mood and content of the film.
- For example, let's look at the first twenty seconds or so of the 2014 Whiplash movie trailer, starring J. K. Simmons and Miles Terrer.
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- In just twenty seconds, the Whiplash trailer gives us a wealth of information about the film: it communicates that Andrew is the focus of the film, that Andrew is a young musical prodigy, that the film has a romantic component, and that Fletcher has a long-standing relationship. teacher / mentor with Andrew.
It starts with a night shot of a New York street. We see Andrew Neyman (Miles Terrer), a young man in his twenties, talking to Nicole (Melissa Benoist), a woman of about the same age, in a deli.
NICOLE
It's very nice here.
ANDREW
I really like the music they play - Bob Ellis on drums.
Nicole laughs; we see the couple's feet touching under the table.
ANDREW (Voiceover)
I'm part of the Shaffer orchestra - it's the best orchestra in the country.
As Andrew talks, we see short clips of him standing outside the school and then practicing with the drums. As he continues talking, we see a clip of Terence Fletcher (J. K. Simmons), an older man, walking into a room and hanging up his overcoat and hat. Cut to Fletcher talking to Andrew, leaning against a wall.
FLETCHER
The secret is to relax. Don't worry about the numbers; do not think about the opinion of others. You are here for a reason. Have fun.
Cut to Fletcher giving his band the signal to start playing.
FLETCHER
Five, six, and …
Step 3. Present the central conflict of the film
After establishing the "status quo" of the film, it presents its main conflict: the people, things, feelings and events that will form the basis of the story. In other words, show the audience why they should care about the characters and themes you just introduced them to. Try to answer questions like "What are the dramatic events that set the plot in motion?", "What feeling does it produce in the character?" and "How will the protagonist try to resolve the conflict?". As Jerry Flattum of Scriptmag.com says, "Storytelling is based on conflict. Without conflict there is no drama. Drama is conflict."
- To continue our example, let's go back to the Whiplash trailer. After the trailer establishes the film's foundation, it quickly reveals its core conflict.
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- The Whiplash trailer establishes the film's central conflict with a shocking effect. Fletcher, who at first looks like a normal teacher, turns out to be a cruel, ruthless and violent tormentor. The conflict is clear, without the film having to explicitly state it: will Andrew, who wants to become a great musician, be able to survive the exceptional stress caused by Fletcher's teaching?
We see Andrew confidently playing drums in a jazz band while Fletcher leads. We hear lively jazz music.
FLETCHER
(Praising Andrew) We have Buddy Rich here!
The group resumes playing. Suddenly, Fletcher signals the band to stop.
FLETCHER
(To Andrew) Now you are wrong. Slows. Again! - Fletcher signals the group to resume playing - Five, six and …
Andrew and the rest of the band start playing again. Without warning, Fletcher throws a chair at Andrew, who ducks out of range at the last second.
FLETCHER
(Angrily) Were you fast or were you slow?
ANDREW
(Humbly) I … I don't know.
Cut to a close-up of Fletcher, facing Andrew. Fletcher slaps Andrew violently in the face.
FLETCHER
(Furiously) If you allow yourself to sabotage my work, I will slaughter you like a pig!
Andrew starts to cry.
FLETCHER
God of heaven. Now are you crying like a baby? You are a useless fagot who has now started crying on my drums like a fucking nine year old girl!
Step 4. Stimulate interest in the film's crescendo (without revealing plot details)
Once you have established what the characters and the central conflict of the film are, you have a little more freedom on how to continue the trailer. Many modern trailers choose to hint at plot progression by showing quick, concise clips of the film's key moments or events in an approximate (but usually not exact) order in which they appear. Note, however, that viewers may be annoyed by trailers that reveal too much of the film's plot, especially if any surprising twists are revealed, so be discreet: don't give too many movie surprises!
- The Whiplash trailer explores the main plot twists of the film, specifically revealing a surprisingly low number of them. The short snippets that follow are taken from the trailer; to keep this article within reasonable space limits, some snippets have been omitted:
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- These short clips give us an adequate idea of the progress of the Whiplash plot, without anticipating any notable revelations. We now know that the stress of playing drums under Fletcher's direction is gradually creeping into Andrew's private life, that Fletcher sees his harsh teaching philosophy as a way to propel talented young musicians towards excellence, and that Andrew and Nicole will begin to experience strains in their romantic relationship, as the drums invade more and more of Andrew's time. Do notwe do know, however, the exact extent to which Andrew's relationships with Nicole and her family will be affected in the long run. More importantly, we still don't know if, by the end of the film, Andrew will really be "big".
Andrew and his father Jim (Paul Reiser) are shown talking in a dimly lit kitchen.
JIM
So how's it going with the orchestra?
ANDREW
(slightly uncomfortable) Good! I think I like him a little more.
Cut to Fletcher yelling at Andrew, who is playing drums. No dialogue is heard; just a dismal and driving music.
Several short cuts are shown as we hear Fletcher's voiceover: Andrew walks down a dark concrete corridor; on stage, Andrew beats furiously on the drums, dripping with sweat; Andrew runs through a parking lot with the case of his tools; in a fit of rage during practice, Andrew punches a snare drum.
FLETCHER (Out of scope)
I was there to push people beyond their expectations. That was my absolute… necessity.
Andrew and Nicole are sitting in a restaurant.
ANDREW
I want to be one of the greats. And, to do that, I will need a lot of time … That's why we can't be together.
Nicole looks up, shocked.
Step 5. Express the central message of the film exactly
As the trailer draws to a close, it leaves a strong and lasting impression on the audience, communicating the main theme of the film in an exciting and engaging way. According to William Flint Thrall's A Handbook to Literature, the theme is "the central or dominant idea of a literary work". In other words, you will have to try to make the audience understand what the film is about, not in terms of the plot, but its subtext. What is the single question or idea that the film tries to tell? How can you reduce the main conflict of the film to a single picture or line of dialogue?
- The "central" moment of the Whiplash trailer comes towards the end:
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- At this point, the trailer suggests the question at Whiplash's heart: are Fletcher's cruel methods justified, if he is capable of training really great musicians? If our promising young musician did not go through this metaphorical hell, would it be somehow less likely that he would be able to achieve the excellence he so aspires to? Wisely, the trailer chooses not to answer these questions - to find out, we'll have to see the movie!
As Fletcher slowly talks off-screen, several clips are shown: Andrew is sitting alone in a long corridor; Andrew with a fixed gaze and a worried expression in a gray rehearsal room. Eventually we find Fletcher and Andrew in a dark room: we hear Fletcher utter his final lines directly as the music grows.
FLETCHER (Partially off-screen)
There are not, in any language of the world, two more dangerous words than "good job".
Step 6. End the trailer with a particularly memorable joke or image
The last seconds represent your last chance to give the audience a "final jab" or to hook it in a seductive way to give the idea that the movie is even more irresistible. Here you don't necessarily have to be as profound as when you previously unveiled the central theme of the film: at this point, it is often more effective to conclude with a powerful joke, a provocative image or a few short and quick shots, exciting when viewed. in sequence but that do not reveal too much of the plot of the film.
In this case, Whiplash takes a rather unusual approach: instead of ending with a single clip, the trailer ends with a flurry of fast deadlifts that mount in a crescendo of tension and speed. No dialogue is heard: only the slow and continuous beat of a snare drum that gradually accelerates more and more, while the editing becomes more and more tight. The percussion reaches a strong and powerful climax, and then suddenly stops; we are left with a close-up of Andrew on his drums, sweaty and with a relentless expression on his face, as a single piano note plays. This crescendo of action leaves us tense, excited, and wishing to want more, even if it doesn't reveal any plot details
Step 7. Finally, add the credits and legal information
Almost all cinematic trailers end with a quick snapshot of information about the film. Usually, these are limited to the studios and production companies that made the film and the people primarily involved, such as the director, executive producer, lead actors, etc. Usually the less important roles, such as those of the technicians, are not included.
In the United States, The Writers Guild of America (or WGA, the American Writers' Syndicate) has a comprehensive system of rules for assigning credits to films that fall under its jurisdiction. Other unions and corporations related to the world of cinema, such as the Screen Actors Guild (or SAG, the union of actors), adopt their own rules. Major films must follow these rules: it is not enough to show the information that the author of the trailer deems sufficient. In the United States, films and trailers that break these rules could face distribution difficulties due to the lack of support from these organizations
Part 2 of 3: Making Your Trailer More Effective
Step 1. Use the best possible equipment
Trailers shot with crystal clear, high-quality cameras and microphones, edited with professional-grade software, will enjoy a wonderful picture and sound much more easily than those made on a tight budget and low-end equipment. While, of course, it is still possible to create beautiful and effective trailers by working within these budget and equipment constraints, it still takes some extra work and planning.
Usually (but not always) the trailers are assembled with material taken from the film: they are not made with footage taken for this purpose. To be clear, it's usually best to shoot the film itself in this luxury gear, rather than reserving it for the trailer alone
Step 2. Make a storyboard
In making a compelling trailer, planning is absolutely essential. Even if you create it entirely from pre-existing material that you shot for the film, it is still a very wise idea to have a shot-by-shot plan before entering the metaphorical editing room. If you don't have it, you may find you've just wasted time: with the amount of footage from an entire feature film to work with and no action plan to follow, even getting started can be extremely difficult.
- That said, it is important not to put too much effort into the storyboard. In the world of cinema, programs are sometimes made to be corrected in progress. For example, you may find that certain clips, which you thought would fit perfectly, don't actually "work" in the larger context of the rest of the trailer - in this case, be prepared to adapt your idea to correct those errors and render the trailer the best possible.
- Have you never made a storyboard before? To get started, read this article on how to make one.
Step 3. Make the editing lively (or find someone who can do it for you)
Good trailers have a natural "rhythm" that is almost impossible to describe adequately. The images and sounds seem to "flow" into each other in a logical and, at the same time, casual way. Each segment must have the perfect duration: not so short that it is difficult to understand what is happening, but not so long that it is boring or makes you lose focus. To achieve this, precise editing and a good "sense" of the film's visual language are required; therefore, if you are not an experienced editor, work with someone who is to put together the footage for the trailer.
Due to the time and energy it takes to carefully assemble a cinematic trailer, many studios today hire outside companies to get the job done, in part or completely. If you have enough money, consider contacting one of these companies (or an experienced freelancer) to help you make the trailer. You may find that, in the long run, you will end up saving money by reducing trailer development time
Step 4. Choose music and sound effects that suit the atmosphere of the trailer
Sound (and especially music) can play a very important role in the effectiveness of a trailer. The better ones employ these tools to emphasize the impact of the action on the screen and establish the atmosphere of the trailer (thus suggesting the climate of the film itself). On the other hand, bad trailers use sound and music in a way that doesn't go with the action, or make it the music, not the action, that is the focus of the trailer. let the viewer focus on the message you want to communicate.
An example of an excellent use of sound and music in a cinematic trailer is represented by the third official trailer of Nicolas Winding Refn's thriller Only God Forgives (2013). Although the film has generally been greeted with criticism that is not always flattering, the trailer is definitely notable. It begins with an exchange between some criminals, which implies implicit violence. These shots are accompanied by eighties-style synthesizer music, driving and arpeggiated, which is perfectly suited to the retro aesthetic and bathed in the neon light of the images, while, at the same time, conveying a disturbing sense of terror. Then the music stops, during a slow-motion sequence of a gang shootout, except for the bright and almost childish melody of a keyboard: a song by the Thai indie group P. R. O. U. D. which achieves a truly chilling effect
Step 5. Consider adding a voiceover or captions
To communicate the basic elements of plot, setting and characters, not all trailers rely exclusively on footage taken from the film: some choose a more direct approach, inserting an off-screen narrative or captions to help create context for the images shown.. However, this possibility should be considered very carefully: if abused, these gimmicks could distract attention from the images themselves and give the trailer a mundane or cheap air. When in doubt, follow the general rule that, in art, you usually have to show, not tell.
A trailer that uses the voiceover in a measured way, in order to adequately accompany the same trailer, is that of Vizio di forma, the adaptation of the homonymous novel by Thomas Pynchon, made in 2014 by Paul Thomas Anderson. In the trailer, a flirtatious female voice communicates the essence of the film's plot in a deliberately humorous and over the top way that fits the early 1970s California setting and comedy tone of the film. The narrator is only heard at the beginning and end of the trailer, and never distracts attention from the action. Sleepily utters sarcastic jokes, such as, for example, "Doc [the protagonist, a" listless "detective] will certainly not be a feel-goodie, but he did some good … Good luck, Doc!", And concludes the trailer self-consciously, with the statement "Coming out just in time for Christmas"
Step 6. Trim the trailer to about two and a half minutes or less
As a general rule, trailers shouldn't be longer than a minute or two. Full length ones usually last around two and a half minutes, although this is not a hard and fast rule. In fact, the National Association of Theater Owners recently made efforts to strictly reduce the maximum length of trailers to two minutes. Regardless of the content of your movie, try to pack all the previously mentioned important elements into one short and neat package. Remember: the longer the trailer, the greater the chances of the audience getting bored.
Trailers longer than three minutes are quite rare. A fairly recent example is the extended version, lasting almost six minutes, of the film Cloud Atlas (2012), an adaptation by the Wachowski brothers of David Mitchell's novel The Atlas of the Clouds. While the longer format lends itself well to the film's complex narrative, which weaves six stories set in different places and times, the authors have cleverly chosen to release a standard-length version as well
Part 3 of 3: Broaden Your Perspective
Step 1. Be willing to play with the "rules" of making a trailer (but also to ignore them)
In most cases, the steps in the previous section should help you create an exciting and effective trailer. However, really great trailers (the ones remembered for perfecting or redefining this art form) are often considered classics precisely because their authors were bold enough to overlook convention. If you aim for excellence, follow your artistic vision, even in cases where you stray from conventional techniques.
A great example of a trailer that, when released a few decades ago, redefined the boundaries of this art form and that has remained one of the best of all time (if not the best) is Ridley Scott's Alien. More than a traditional trailer, it is a fragmentary collage of disturbing images from the film, but the impression they convey is unforgettable. The only semblance of indication given to the viewer lies in the caption, now emblematic, which appears in a worrying silence at the end of the trailer: "In space no one can hear you scream". The connection between the images and the film is (ingeniously) left to the viewer's imagination
Step 2. Join the discussion surrounding trailer creation
Movie trailers are an art form that has been written a lot about and that has been extensively dissected and analyzed, especially following the advent of technologies that allow anyone to participate in such discussions (such as forums, blogs and podcasts. available on the internet). If you want to stand out as a great trailer author, a good idea is to get involved in this ongoing global discussion. The following are some starting points you could start with; it is up to you, then, to deepen them as you deem most appropriate.
- A great read to start with is 9 (Short) Storytelling Tips from a Master of Movie Trailers, an article written for fastcocreate. com. In this article, Long, co-founder of a trailer production company, talks about the techniques his company uses in creating trailers.
- Several free podcasts cover the construction aspects of classic and modern trailers. These include The Trailer Home Podcast, an updated Iowa-based podcast, and Trailerclash, available via iTunes (both in English). By quickly consulting a search engine, you can easily find many others.
- Finally, virtual communities like Reddit generally host lively discussions as soon as a new cinematic trailer is released - consider joining one of these communities and sowing discord!
Step 3. Learn from the grown-ups
Having trouble finding an idea for your trailer? Look for inspiration in the most important and cutting-edge trailers that have already been made. In Isaac Newton's immortal words, greatness is achieved "by standing on the shoulders of giants". In other words, don't be afraid to reinterpret, through your own personal gaze as a director, the ideas of the great masters of the trailer. The following is a short list of films whose trailers are considered exceptional; many, many more could be added to this list. Note that not all movies related to the following trailers have enjoyed a positive reception.
- Alien (1979) - discussed above.
- Watchmen (2009) - great use of music and atmosphere.
- The Social Network (2010) - subtle tension and eerie atmosphere.
- Cloverfield (2008) - establishes the film's untraditional shooting style and creates an air of mystery.
- The Minus Man (1999) - employs a conceptual gimmick to spark interest in the film. The trailer is not about the film itself, but about a fictional couple who have just seen the film and can't stop talking about it.
- The Sleepyhead (1973) - noteworthy for its quirkiness: director Woody Allen talks about the film in a detached and pretentiously intellectual way. His disquisition is interspersed with silly and ridiculous farcical clips from the film.
Advice
- Generally, it's a bad idea to start working on a trailer before you're done shooting the movie. If you still have material to shoot, what you have is an incomplete collection of scenes to choose from to make the trailer, which limits your possibilities.
- Modern trailers are very, very different from what was generally shown in the early decades of cinema. Consider searching for some from the past, to better understand the evolution of trailer making (and consequently have a wider set of knowledge to draw on to create yours, in the present).
