New releases have been beleaguer by trailers for a hundred now , but blistering damn have they evolve into an art form all their own , and there are editors who specify in making them . We got the inside Georgia home boy from one of the masters .
Mark Woollenis a modern master of this very specific , super potent kind of movie legerdemain , and has cut clips for everything from Beauty and the Beast to 12 Years a hard worker . At yesterday’sWired x Designconference at Skywalker Sound , he provide a piece of insight into how he approaches these concise mini - features .
There ’s no one - to - one formula for transubstantiate the story of a full - length film into an edit that , in the span of a mere couplet of min , will capture the spirit of the story and the attention of the looker . Sometimes Woollen has hours and hours of dailies , or peeled footage , to work with ; other meter , the director has n’t even yet made key option regarding reference development or visuals .
Woollen and Roper on leg at Skywalker Sound , under an entirely unimpressed character from A Serious Man .
“ I think you have to be an optimist , ” he state Wired senior editorCaitlin Roper . “ To be able to see potential in material . ” I get it on this ; because no matter the subject matter of the flick itself — it could be the dingy , most dramatic heartbreaker — lagger are inherently full of promise , hinting at the kind of transcendent , oh - my - gosh - WOWWOWOOWOW cinematic experience that we all want to have at the theater . The best trailers get by to not only be the photographic film , but elevate it ( heck , even the bad provide a unique form of wishful thinking of : Surely the last could n’t be that uncollectible ) .
Have a look atWoollen ’s siteand roll across the bottom ; it ’s a veritable freaking amber mine of laggard magnificence . Here are four of his dandy hits ; they ’re short , but allow yourself some meter , as you ’re going to require to watch them over , and over , and over …
https://www.youtube.com/watch?v=7iggyFPls4w
“ First : I was trying to make the Coen ’s gag , ” he state Roper . The sound of that mind slam against a wall became a kind of bass line . It was one of the sonic elements that could be looped and give the clip its rhythm — along with a distinctive cough and sniff — that ultimately begins to build up into the “ cacophony of of the graphic symbol ’ populace . ”
“ How do you make a film about Facebook ? ” Woollen did n’t want to jump in with the story itself . or else , the finish was to first establish a association with viewers about the way they communicate online , a kind of indecorum that would string them in and make them care about the narrative behind it . Woollen and his team took a day in the federal agency where everyone brought in posts from their own electronic web , which became the basis for the opening montage . And then , of course , there ’s that angelic rendering of Radiohead ’s Creep byScala and Kolacny Brothers , a Belgian fille ’ choir . He had the song kick around in his collection for years , waitress for the gross project . This was it . Director David Fincher was , intelligibly , into it .
Director Todd Field had a few thought-provoking directive for this trailer : He wanted no story ; he wanted no euphony . Woollen had to get to the eye of the movie through sound design . “ It was about produce a feeling , ” he said . Like A Serious Man , thing start out tardily , until all the elements start to chatter and the tension ratchets up through these more and more informal snipping of film and audio . The effect is unsettling , and yet : It leaves viewers with an insatiable desire to see more .
I first caught this teasera few weeks agoand : Whoa . I could not stop agitate play . Not only that , but I just kept thinking about it , and come back later to push play again . Only yesterday did I learn it was Woollen ’s work , which now , of track , makes perfect sense . “ The film is put together as it ’s almost one take , one injection , ” he said . This informed the structure of his preview , which follows Keaton through this sort of meta - trajectory of a washed - up lead of a superhero franchise searching for cultural relevance again .
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