Film Trailer Promotion - How To Cut A Trailer To Make A Good First Impression

EchoWOM Team
Apr 14, 2017
18 min read

Although it is usually only two minutes in length, it is the viewers’ first exposure to your film. The production of an effective trailer can enable a self-distributor to get over 100,000 weekly hits on YouTube. It gives independent filmmakers the opportunity to have their low budget film compete with Avatar 2 and The Hobbit on iTunes. A good trailer will endure even many years after the end of its theatrical release. It will still be able to be found using a Google word search. Movie trailers used to only be seen by film audiences in movie theatres. They are now widely distributed for films to gain exposure and to stay in the front of the potential audience’s memory. The trailers can be viewed anywhere and anytime, wherever there is an Internet connection and a computer. The trailer and the movie poster are the two most important marketing tools that are available to filmmakers. A film won’t necessarily by hurt by a poor trailer. It can be overcome by excellent word-of-mouth and good reviews for the movie. However, not all films are sure to be successful, such as a first film from an up and coming new filmmaker. The same could be true for offbeat foreign films or documentaries on unusual topics. An excellent trailer with an effective message could benefit these types of films (there could also be excellent trailers for poor films). Films that come from major studios are usually within a narrow ranges of genres including: drama, horror, action, comedy, fantasy and sci-fi. These films all have certain common characteristics and a certain sound and look. Comedies usually have sans-serif font that is thick and has jaunty music. Dramas have sad orchestral music and an elegant serif font. Many of these trailers follow a specific formula and are mass-produced. Not all trailers are like this, however. There have been excellent trailers that have been produced for high quality studio films such as Spider-Man, The Matrix and Harry Potter. There are many foreign language and independent films that don’t fall into a particular genre or category. The same thing is true with documentaries which can fall into a number of different categories ranging from essays to social commentary. GETTING STARTED Let’s assume that you need a trailer for your movie. The trailer should be a presentation of the best elements of your film in a condensed version. It is necessary to evaluate the fundamental characteristics of the film rather than as part of a particular genre. The key attributes of the film such as: excellent cinematography, outstanding performances, great dialogue and beautiful production design need to be placed front and center. Nevertheless, the development of the trailer will be shaped by the film’s particular genre. However, it is also necessary to ask which parts of the film are the best ones to market? For example, if it is a comedy/drama, should you emphasize the funny or serious aspects of the film? Another question is whether the film should be defined by its genre. This strategy may sell more tickets, but it at the same time anger viewers if it is not consistent with the actual movie. For a film that is playing on the festival circuit, the positive feedback could be used to promote the film. Positive reviews from critics can also be used to promote the film. This type of strategy could backfire by attracting an elite audience and alienating the broader market. There are a number of components of a trailer that need to be considered. One of the questions that must be asked is whether a narrator is needed. The type of music is also important. This involves whether there are specific cues composed for the film or whether outside music could be used. It must also be determined whether it is necessary to use a copywriter or if the film’s explanatory dialogue is adequate. The next step in the process is to determine the creative approach.

RHYTHM AND STRUCTURE The most important part of trailer editing is rhythm. If there is no sense of rhythm in your trailer, it will not resonate with your prospective audience. Every well-cut trailer will have a flow and will create a feeling that everything is inter-related and will move the viewer to have a positive impression of the film. Their purpose is to generate anticipation and excitement. If the trailer has a strong sense of rhythm, it intensifies those emotions. Music is crucial to the development of the trailer, even if it does not define it. It has the effect of creating the rhythm and tone for the entire trailer. It is important to begin a trailer by establishing a music bed that is composed of three musical cues. There are three cues because trailers usually have a structure that consists of three acts. The main purpose of Act One is to provide an introduction to the films’ environment and characters. Act Two is intended to make their world more complicated by presenting obstacles that they are required to overcome. In Act Three, the conflicts are intensified and the excitement, humor and tension are increased. (Act Three usually contains the montages.) The number of acts can range from one to four, depending on the material. However, it is recommended that you start with three acts. The most important thing to remember is that nothing should be resolved. Questions should not be answered, if possible. You should also avoid tying up loose ends, so the audience always wants more. It is possible to have excellent trailers for poor movies. This is because the purpose of trailers is to raise expectations. The filmmakers are often very passionate about the message or ideas that are contained in the movie. Every movie has the potential to become great. However, once the film is finished, the reality takes effect. Whether the final product is still great is subject to debate. Since the trailer is just a sample of what is actually in the movie, it is just an indication of its potential. If the trailer is well-designed and has an attractive rhythm, it can make the film look like it is a winner.

DISASSEMBLING YOUR FILM AND CONSTRUCTING YOUR TRAILER The process of making your film’s trailer, requires that you first take it apart. The trailer editor’s role is to carefully go through the film in order to break it down and turn it into simple building blocks. This is done by creating two sequences: a visual string and a dialogue string. They are highlight reels as well as basic ingredients. It is similar to reverse engineering a cake by removing the sugar, eggs, butter and flour. Editors are similar to tailors. They go through a process of cutting and shaping material and altering them in order to make sure that everything fits perfectly. However, they are also like cooks because they boil down the materials, mix them together and then extract the most important parts to provide flavour for the meal. It would be logical to think that your feature editor should also serve as your trailer editor. The feature editors are very familiar with the material and the trailer editors should be as well. However, the feature editors can actually be the least qualified to edit the trailer. This is because in many ways they are too familiar with the footage because they have been working with every shot of the film for many months. The trailer editors, by contrast, can be disrespectful of the film. They see everything for what it inherently is as opposed to the function that it has in the actual movie. This can range from the meaning of a smile to a dog bark within the movie. It is their job to unpack the movie and then repack it in order to construct the trailer. A variety of editing tropes are used in trailers. They include: fades to black, fades from black, fast-paced flutter-cuts, white flashes with metal-door slams, audio rises, speed adjustments, double exposures, audio stings and audio drones. These effects are like the actual film images and are like the tools in a toolbox. If you have something that is romantic and lush, you can use fades and dissolves. For a section that is tense and fast-paced, it possible to use a metal-door slam and white flash. The basic message of these techniques is to tell a story by using these tools to tell and sell a story. STRIKING THE RIGHT TONE The material in particular films might alienate audiences if the type of movie looks familiar. Senior advertising executives at Focus Features, were worried that the new version of Jane Eyre would be considered to be outdated, too literary, too outdated and a chick flick. Therefore, the emphasis of the trailer was shifted from a romantic melodrama to a horror film. The emphasis was placed on the eerier and darker parts of the film and the movie was treated as a modern tale of obsession and insanity. If your movie includes controversial issues, potential viewers who would ordinarily enjoy the movie may be taken aback. It is important to respect that reaction and to try to tactful and subtle. An example is the film Half Nelson, which is the debut of Ryan Fleck and was released by THINKFilm. Ryan Gosling stars as a well-respected high school teacher who is addicted to crack. The trailer does not mention what drug the Gosling was character was using. There is only a non-specific mention of drug use. The movie deals with many other issues including human frailties and the opportunity to get a second chance in life. Therefore, the trailer downplayed the tragic sections, placed an emphasis on the positive and didn’t spend much time on the darker parts of the film. Another example is the trailer for L.I.E. This movie is a drama (with very positive feedback) on the subject of pedophilia that took place on Long Island that Lot 47 released. The material in the film is very alarming which makes it hard to describe the story. However, the movie has several positive attributes such as a sinister but melodic song, several evocative shots and beautiful cinematography. The directions to the trailer editor were to eliminate the dialogue, use the one song and to make a montage with critical quotes and praise. The purpose of the trailer was the creation of a mood rather than having a narrative. The end result was to be thrilling, alienating, haunting and dangerous. As a result, the trailer does an excellent job of actually reflecting the film. MONTAGE AND MUSIC-DRIVEN TRAILERS The trailer that was produced for L.I.E. is a montage trailer that is music-driven. The structure and feeling of the film are provided by the images and song. However, these components do actually reveal the story of the movie. The reason for this decision is that a number of filmmakers have a very distinct use of music and a unique visual style. As a result, a music-driven montage works best in the trailer for this type of film. An excellent example is the trailer for Gaspar Noé’s Enter the Void. It is an off-beat film about a junkie’s ghost protecting his stripper sister in a brightly lit Tokyo. It would appear that the best trailer would be a visual head-trip. This approach was supported IFC Films, who released the film. However, two key executives wanted to establish the two main characters in the film. As a result, they decided to bookend the trailer with a conversation pledging to be together, no matter what happened. The trailer has a strong techno cue and a string of images. There is also an emotional atmosphere that is created which has the effect of humanizing the material and making the psychedelic material very moving. Lynne Ramsay is another very visceral filmmaker. Her film Morvern Callar, released in 2002 by Cowboy Pictures, follows the main character who assumes the identity of her dead boyfriend. She goes on to claim that she wrote his book and, as a result, becomes a famous author. The executives of Cowboy Pictures wanted that story to be told. However, they also wanted the trailer to be impressionistic and to provide a sample of the music and visuals. A total of four distinct cues were used to demonstrate the varied soundtrack that includes artists such as Lee Hazlewood, Ween, Stereolab and Aphex Twin. Since the film concerns an identity crisis, the music is occasionally interrupted by dialogue that provides different revelations. The trailer is structured around moments of disruption and wide mood swings from elation to introspection and anxiety. DOCUMENTARIES Most documentaries are considered to be non-fiction. However, they typically follow the same rules as fiction films. This is because most documentaries tell a story. The Bill Cunningham New York trailer is about a fashion photographer and, therefore, focuses on fashion. However, the movie also concerns the sacrifices that an individual must make in order to pursue their true passion. The trailer captures the story and in two minutes makes it interesting to the viewer. This is because the editor captures the Spartan and austere lifestyle of the film’s subject and contrasts it with opulent wealth. The trailer shows how Bill Cunningham has as much style, taste and individuality as the person with the most elegant wardrobe. The film provides testimony to the importance of having the courage to stand up for your convictions. This could include where you decide to live or the clothes that you wear.

The highly acclaimed film, Trouble the Water, despite having very interesting characters, is primarily about Hurricane Katrina. However, the video of the event that was shot before and after the storm is fascinating. The film’s producers wanted to emphasize those aspects of the film in the trailer. As a result, they use techniques to bring out the devastation that is caused by the hurricane. Although the main characters are shown, the film’s focus is the storm and how the U.S. government reacts to it. When making a trailer, it can sometimes be difficult to choose the correct marketing approach. An excellent example is the film Encounters at the End of the World by Werner Herzog. The film’s topic is about the experiences of scientists living in the harsh Antarctic environment. Herzog narrates the film with his Bavarian accent and style.. When making the trailer, Herzog’s voice was used at first interspersed with the film’s music. However, it was suggested that his voice be dropped. When that was done, the remaining trailer with just music and images, became much more effective. THE USE OF SUBTITLES In the past, film distributors were hesitant to use subtitles in their foreign language film trailers. They preferred to use a narrator in order to provide an explanation of the story. It was possible that these distributors were afraid that the audience was not going to like something that was not in English. The real reason that they did not want subtitles was that the images in a trailer move quickly which makes them hard to read. Trailers now commonly use subtitles. It has been speculated that with the recent digital transformation, people are used to processing a large volume of information rapidly. Since this tool is now available to editors, it raises the question of how they can be used in an effective manner. The primary purpose of dialogue in a foreign language is similar to the use of English dialogue. The three main uses of dialogue are to set a mood, to share emotion and to create a mood. As an example, the trailer for 4 Months, 3 Weeks, and 2 Days, by Cristian Mungiu has a total of 20 subtitles. However, they are very effective in creating a mood of tension and urgency. . In the trailer for this film, the dialogue is used to raise questions rather to present information. The tension in the trailer increases with the number of subtitles. The trailer for the Swedish vampire thriller Let The Right One In, by Tomas Alfredson, uses only three subtitles. The rest of the story in the trailer is told without the use of any words. The relative lack of dialogue has the possibility of attracting horror fans from the United States, even if they usually don’t like films that have subtitles. The effect of the limited dialogue is to increase the drama and tension of the trailer. USING NARRATION AND COPY Narration and copy are not appreciated by everyone. It is an acquired taste. It is often overused in Hollywood movies. As a result, it can make it look uninspired and tired. Narration and copy can also be disruptive, especially when a compelling image or dialogue is interrupted by text or a deep voice. If a trailer can be produced without any narration or copy, it results in an organic explanation of the story. Since most people agree that showing is more effective than telling, many trailer editors try to avoid it whenever possible. However, there are certain situations where copy can be an economical and quick way to establish a premise. The trailer for Carlos, which is an epic concerning an international terrorist effectively uses three copy cards at the start: “IN THE 1970s AND 1980s / ONLY ONE MAN / COULD HIJACK THE WORLD.” These cards have the effect of quickly setting the place, time and worldwide impact. The same technique is used in trailer for the film Bill Cunningham New York. One-word copy cards are used which combines a structure that is impressionistic and also reinforces Cunningham’s identity: PHOTOGRAPHER. / PERFECTIONIST. / LONER. / MAVERICK. / VISIONARY.

The Black Power Mixtape 1967-1975. Photo by Tom Goetz. In the situation where the topic is more complex, narration can actually be more effective. Although brief copy cards are useful, the maximum number of cards that should be used is three. If there any more than that, it possible for the viewer of the trailer to lose attention. In those cases, a narrator can be more effective because they can quickly express an idea while allowing the viewer to maintain their focus on scenes that promotes the message of the trailer. The documentary The Black Power Mixtape: 1967-1975 uses long copy cards to explain that it is lost footage from the U.S. black power movement. MAKING A TRAILER ECONOMICALLY There may be rare situations where, due to budgetary or other concerns, a number of key components of a trailer are missing. This could include: no budget for music (or there is no music for different reasons) or the lack of funds for a narrator or copywriter. Since the vast majority of trailers have narration, music or copy, those that don’t have the advantage of standing out from the others. The film Wendy and Lucy had no music. The lack of music in a movie about a dog and a down-and-out woman on an arduous journey to Alaska, helped to create the unsentimental and bleak mood. The studio executives wanted the director to be involved in the film marketing and the decision was made not to use music in the trailer. There was also a preference not to use either narration or copy. The film’s main asset was the star, Michelle Williams. She gave such an outstanding dramatic performance that it created the rhythms and music for the trailer. The structure of the trailer was developed using her dire circumstances and resulting depression. Her anxiety was also heightened by her anxiety and stress. The film Day Night Day Night about a suicide bomber who was about to sacrifice herself is another unique situation. It was based on a very narrow experience that makes it difficult for viewer to understand what is occurring at any particular time. As a result, the trailer attempts to re-create this same type of feeling. Some of the techniques that are utilized include: repetition and natural rhythms. They helped to establish a feeling of emotional vertigo or danger without the use of music, narration or copy. TITLE REFERENCING It is a good idea, if someone in the movie says the film’s title, to use it in the trailer. The dialogue that includes the title of the film, is useful to provide the context. Anything that can be done to reduce confusion about the title is helpful and will avoid losing ticket sales. An example of what is discussed above, is the film Half Nelson. The title of the film is not explained in the film’s dialogue. However, there is an outtake from the introduction to some music that explains it. It is placed at the start of the trailer and it is made to seem like the main character is hearing it on the radio. There is a similar situation with the film Morvern Callar. It is a rather odd title and not many potential viewers probably consider it to be a woman’s name. In order to overcome this problem, the trailer uses a phone conversation to introduce and shows a computer screen where the name is typed. ONLY GUIDELINES NOT RULES There can be considerable variety in the type of trailer that can be produced. Some individuals may think that an ideal trailer can be done without subtitles, copy or narration. Nevertheless, a very effective trailer that was made for the film Gomorrah uses several subtitles, very long copy cards and relatively extensive narration. Several individuals prefer a structure with three acts and different music cues. However, there is only one act and one song in the very effective trailer for the film L.I.E. The only way to determine the condition of a trailer is when you begin cutting it. It is important to examine the assets and limitations of the movie and then find an effective structure and rhythm. Trailers can be cut in a variety of different ways. There can be a variety of approaches that each do an excellent job of promoting the film.

A TRAILER IS ITS OWN FILM It is important for trailers to be distinct from the film that they promote and they have an internal logic. Trailers can be viewed many times, if they are edited properly. However, they should give you the desire to see more. It often happens that people only see the trailer and not the actual movie. Therefore, it is important that the trailer leaves things unresolved. If too much of the plot of the movie is revealed in the trailer, the potential viewer will no longer see the need to watch the actual film. It crucial to always leave questions unanswered, so the potential viewer wants to see more. An effective trailer should seduce, beguile, arouse and provoke the viewer. It is important to have the viewers fall in love the movie before they have actually seen it. Possibility and promise should be a part of any successful trailer. It must stimulate the viewers’ impulses so that they need and want to see the film.

Trailer Marketing Realities There are many independent filmmakers who to develop an effective trailer in order to stimulate interest in a film that has not yet been distributed. However, it can be difficult to get the trailer onto Yahoo or iTunes and even into a movie theater. These individuals want to have the trailers played in cinemas so they ensure exposure for their films. However, it is extremely difficult to get their trailers placed online or in theaters, unless there has already been a certain amount of exposure for the film. It is very hard for independent filmmakers to have their trailers shown in large theater chains. This is because these theaters typically shown a total of four to six trailers before a feature film. Two of the trailer slots are always allocated to the studio that releases the feature. The inclusion of the other trailers is based on marketing research by the theater executives. This makes it extremely difficult for independent filmmakers to get their trailers shown in these theaters. The situation with independent theaters is quite different. They usually only show trailers for films that will be playing there. The distributors and filmmakers own the trailers and they expect that they will be played before the film actually is shown in that theater. This also makes it difficult for the trailers of independent filmmakers to be shown there. The process for getting trailers played in the different digital sites can be as costly and challenging as having it played in a theater. Yahoo and iTunes have open trailer submissions with a specific process about what should be included. As a result, they are very particular in the type of trailers that are accepted. The iTunes site requires that the film has been accepted in a major film festival or that it is going to be played in a theater. The filmmaker is asked to provide the name of the distributor and the expected release date to be considered on Yahoo. The list of trailers on both sites is an indication that they favor independent films released by major distributors and films from major studios. There have been rare cases where a title that is self-distributed makes it to iTunes. However, these films usually have first received considerable publicity beforehand. In many cases, it results from playing at a major film festival. This gives the site more incentive to air the trailer. Common Terminology Used in Trailers The emergence of the Yahoo and iTunes digital trailer platforms, has eliminated the ability of editors to produce trailers solely on celluloid. Producing a trailer for digital and theatrical use, requires the editor to provide many expensive deliverables. The following is a list and description of these items. HDCAM MASTER The editor will use the HDCAM Master to create the video elements of the trailer. This includes the DCP (digital cinema projection file) which is what movie theaters now use as the standard for digital projections. The HDCAM Master will also be used for the creation of the 35mm theatrical print for the trailer. There are four audio tracks on the standard HDCAM Master. However, it is also possible to use a HDCAM SR which has 12 audio tracks. It is important for the HDCAM Master to have both a time-coded and textless versions. The textless version will have graphics, but no text. These features will be important for providing a clip for a tribute reel or when the trailer will be used overseas.

PRORES QUICKTIME FILE Most trailer editors must edit by using a ProRes Quicktime file, since they usually don’t own HDCAM decks. Since all non-HD footage must eventually be matched to the original HDCAM Master it is essential to edit with a time-coded export. In order to do this, it is necessary to rent an HD editing bay at a post-production facility. ASPECT RATIO For trailers to be shown theatrically, two versions must be created. They must conform to both scope (2.35) and flat (1.85) aspect ratios. The most cost-effect procedure is for the trailer editor to create a flat aspect ratio version and pillar-box, which involves adding black bars to the right and left sides of the screen. This has the effect of expanding the scope of the trailer. AUDIO MIX There must be two audio mixes that are created for the trailer. One audio mix must be in stereo and the other should be in 5:1. The version with the 5:1 mix is the standard for most movie theaters. It is very complex and can be three times more difficult to make than a regular stereo mix. However, digital platforms, such as iTunes and Yahoo typically prefer stereo. The trailer usually needs to be Dolby certified in order to be shown in most theaters. The Pro-Tools audio-mixing session must be saved, in the event that a component must be replaced in the future. AUDIO STEMS A common practice of distribution companies is to require the creation of several versions of the audio for the trailer. Each of the different versions usually omits certain elements. The most popular audio stem is an M&E version. This version only contains effects and music and must be in both stereo and 5:1. There are several distribution companies that require a stem that is dialogue only. However, this stem only needs to be produced in stereo. 35mm PRINT A trailer editor will often have to produce a 35 mm print from the HDCAM Master. The reason is that there are many theaters that don’t screen DCPs. This necessitates the creation of an optical soundtrack which must then be linked to the print. However, it is possible to embed both the 5:1 and stereo mixes on the same print. Therefore, if a smaller, non-Dolby theater screens the trailer, it will also sound fine.