Thursday, 28 July 2016
Sunday, 24 July 2016
How Do Trailers Help to Market a Film?
Films are marketed through trailers in order to gain interest from their target audience and ultimately, 'sell' their film. This is often done through showing recognisable elements so that the genre is clear to the audience; however, there needs to be something (e.g - the plot, the characters, the actors) that makes it different from other films released in the same genre prior to this new film's release. This is called the USP, or Unique Selling Point. This could be achieved through the film being a hybrid of genres that may not have been done before, improved special effects, a convention-breaking plot, or an interesting blend of stars. Below I will be analysing a few trailers to investigate what their USP may be.
Trailer 1
Star Wars: The Force Awakens (2015) is a sequel to the original Star Wars series of films. When it was first announced, and even when Disney bought the franchise, it got a mixed reaction from audiences who were debating whether the sequel would be a success, with most loyal fans arguing whether it was even necessary. The trailer's appeal, however, mostly lies within its USPs of having refurbished its special effects in a sense, and featuring a more diverse lead cast in terms of gender, ethnicity, etc. It also shows a few props and such that are reminiscent of the older films, most likely to give older audiences a feeling of nostalgia and excitement (for example, the worn and damaged Darth Vader helmet and the Millennium Falcon ship). Additionally, as well as featuring a lot of the old films' cast such as Harrison Ford (Han Solo), Carrie Fisher (Princess Leia) and more, it features a few newer, less well-known stars that play lead roles: Daisy Ridley (Rey) and John Boyega (Finn), which may attract a bigger potential audience.
Trailer 2
Ghostbusters (2016) is a re-make of the franchise of the same name, the first film for which was released in 1984. The film has received a lot of mixed reactions, like Star Wars: The Force Awakens, as there are many who criticise the fact that it is being re-made at all, again with the question, "Is it necessary?". The trailer makes the film's USPs evident: the main factor being that the lead cast is all-female, rather than the previous films' all-male cast. This is a positive, convention breaking feature, therefore making it appealing through its unique twist on the franchise. Another USP is its upgraded CGI, making it appear more professional and modern, along with a new soundtrack, including a track from the popular rock band Fall Out Boy.
Trailer 3
Hot Fuzz (2007) is an action/comedy/mystery film from the same creators who made the popular zombie-horror comedy Shaun of the Dead (2004). The plot follows a police officer, Nicholas Angel, in London who gets re-located to a small village, 'Sandford', for being 'too good' at his job. At first, his work in the town seems quiet and uneventful, until two actors are found dead from an 'accident', which Angel refuses to believe when more deaths occur. The USP for this film mostly lies with the unique nature of the director's storytelling and distinct cinematic style, (which he is famed for, having directed Shaun of the Dead and The World's End, all featuring the stars Simon Pegg and Nic Frost), along with its sense of humour (such as the moment when Angel protests when being re-located, "There's one thing you haven't taken into account- and that's what the team is gonna make of this!" - at which point the camera cuts to the police department gathered outside the office with a banner and party poppers).
The trailer advertises this film as having a convention-breaking action plot: instead of it revolving around the typical 'city cop' who fights crime in car chases and adrenaline-filled action sequences, it is about an uptight, strict officer who is moved to the countryside, where upon a first glance, nothing happens at all (apart from a comedic moment in the trailer where he gets a call that "the swan has escaped" - although towards the end, the pace increases and more action is shown). It plays upon the fear factor of otherness and difference, as halfway through the trailer the plot begins to escalate into Angel investigating the mysterious 'accidents', and shows his frustration when none of the country officers believe his claims that it's murder (see 1:18 - 1:31 in the trailer). The USP is also made clear to the audience through the self-aware narration in the trailer, for example when the typically dramatic, deep voice says, "From the guys who watched every action movie ever made and created Shaun of the Dead".
To conclude, from watching these trailers and looking closely into elements of their genres and how they have been twisted or changed to create a USP, it is clear that some films rely on this technique to advertise a film in order to convince the audience that it isn't 'your average, seen it all before [insert genre here] movie'. However, trailers should aim to be self-aware (such as in Hot Fuzz) to get the audience's attention, and not try to instead dazzle the audience and rely on an over-the-top genre hybrid (such as the western/sci-fi film Cowboys & Aliens, a known flop in the world of film, despite advertising special effects and the star Harrison Ford, best known for the Star Wars originals and Indiana Jones). This technique, particularly nowadays, seems to be almost essential when advertising a film- especially during the superhero film generic cycle we seem to be in, as audiences can quickly become tired of the 'same old' plots and conventions. Essentially, films need to be unique (hence the term USP), genre convention-breaking, and eye-catching.
Trailer 1
Star Wars: The Force Awakens (2015) is a sequel to the original Star Wars series of films. When it was first announced, and even when Disney bought the franchise, it got a mixed reaction from audiences who were debating whether the sequel would be a success, with most loyal fans arguing whether it was even necessary. The trailer's appeal, however, mostly lies within its USPs of having refurbished its special effects in a sense, and featuring a more diverse lead cast in terms of gender, ethnicity, etc. It also shows a few props and such that are reminiscent of the older films, most likely to give older audiences a feeling of nostalgia and excitement (for example, the worn and damaged Darth Vader helmet and the Millennium Falcon ship). Additionally, as well as featuring a lot of the old films' cast such as Harrison Ford (Han Solo), Carrie Fisher (Princess Leia) and more, it features a few newer, less well-known stars that play lead roles: Daisy Ridley (Rey) and John Boyega (Finn), which may attract a bigger potential audience.
Trailer 2
Ghostbusters (2016) is a re-make of the franchise of the same name, the first film for which was released in 1984. The film has received a lot of mixed reactions, like Star Wars: The Force Awakens, as there are many who criticise the fact that it is being re-made at all, again with the question, "Is it necessary?". The trailer makes the film's USPs evident: the main factor being that the lead cast is all-female, rather than the previous films' all-male cast. This is a positive, convention breaking feature, therefore making it appealing through its unique twist on the franchise. Another USP is its upgraded CGI, making it appear more professional and modern, along with a new soundtrack, including a track from the popular rock band Fall Out Boy.
Trailer 3
Hot Fuzz (2007) is an action/comedy/mystery film from the same creators who made the popular zombie-horror comedy Shaun of the Dead (2004). The plot follows a police officer, Nicholas Angel, in London who gets re-located to a small village, 'Sandford', for being 'too good' at his job. At first, his work in the town seems quiet and uneventful, until two actors are found dead from an 'accident', which Angel refuses to believe when more deaths occur. The USP for this film mostly lies with the unique nature of the director's storytelling and distinct cinematic style, (which he is famed for, having directed Shaun of the Dead and The World's End, all featuring the stars Simon Pegg and Nic Frost), along with its sense of humour (such as the moment when Angel protests when being re-located, "There's one thing you haven't taken into account- and that's what the team is gonna make of this!" - at which point the camera cuts to the police department gathered outside the office with a banner and party poppers).
The trailer advertises this film as having a convention-breaking action plot: instead of it revolving around the typical 'city cop' who fights crime in car chases and adrenaline-filled action sequences, it is about an uptight, strict officer who is moved to the countryside, where upon a first glance, nothing happens at all (apart from a comedic moment in the trailer where he gets a call that "the swan has escaped" - although towards the end, the pace increases and more action is shown). It plays upon the fear factor of otherness and difference, as halfway through the trailer the plot begins to escalate into Angel investigating the mysterious 'accidents', and shows his frustration when none of the country officers believe his claims that it's murder (see 1:18 - 1:31 in the trailer). The USP is also made clear to the audience through the self-aware narration in the trailer, for example when the typically dramatic, deep voice says, "From the guys who watched every action movie ever made and created Shaun of the Dead".
To conclude, from watching these trailers and looking closely into elements of their genres and how they have been twisted or changed to create a USP, it is clear that some films rely on this technique to advertise a film in order to convince the audience that it isn't 'your average, seen it all before [insert genre here] movie'. However, trailers should aim to be self-aware (such as in Hot Fuzz) to get the audience's attention, and not try to instead dazzle the audience and rely on an over-the-top genre hybrid (such as the western/sci-fi film Cowboys & Aliens, a known flop in the world of film, despite advertising special effects and the star Harrison Ford, best known for the Star Wars originals and Indiana Jones). This technique, particularly nowadays, seems to be almost essential when advertising a film- especially during the superhero film generic cycle we seem to be in, as audiences can quickly become tired of the 'same old' plots and conventions. Essentially, films need to be unique (hence the term USP), genre convention-breaking, and eye-catching.
Thursday, 21 July 2016
What Are Film Trailers, and Who Are They For?
In this blog post I will be investigating the importance of film trailers for both producers and audiences, as well as how they appeal to different target audiences, with some trailers (not of my chosen genre, crime) as examples.
What are film trailers?
Trailers are, essentially, short compilations of films (usually the most exciting, humorous or action-packed parts, depending on genre) that attempt to appeal to a specific audience. The trailers will usually start with introducing a main character or multiple protagonists in a state of equilibrium (where everything is ordinary in their daily lives), before introducing a type of conflict that sparks the main plot. This may vary depending on the film, its genre, and whether it is convention-conforming or convention-breaking.
Why are they made?
Trailers are made to advertise a film's release (in cinema or even on DVD/Blu-ray) and appeal to as much of their target audience (movie-goers of a certain age, gender, etc) as it can, in order to, effectively, sell the film. Often nowadays, trailers will be released many months before a film's release in an effort to generate a 'hype'.
How do they work?
As a trailer aims to advertise, they will often be fast-paced and attention-grabbing, and if it is shown in cinema, especially immersive; many films will feature high-concept elements such as a recognisable soundtrack. Trailers often have distinguishable parts: firstly, the main narrative will be introduced, along with the protagonists. A disruptive event may then occur, sparking the conflict that furthers the plot and pulls the audience deeper into the narrative, making it engaging. However, trailers are, (more often than not), careful to keep an element of mystery; an enigma for the audience to solve that entices them into seeing the film to get the 'answer'. Finally, the trailer will end in a high-impact fashion or with a 'cliff-hanger' effect that will encourage the audience to see the film in full.
Who are they for?
Trailers for films all aim to appeal to a specific audience: people of a certain age range, gender, etc. For example, Disney/Pixar's Cars (2006) is an action/adventure/comedy marketed towards children; mainly boys of 5 and above (as its age certificate is G, General). It may also be tied to a gratification it may give the viewer; some may be looking for escapism or to identify with what they see on-screen. Although perhaps more of a relevant theory in TV, a film's genre will often fulfill a certain 'need' in the audience (e.g - a horror film showing violence, so the audience doesn't need to express it themselves).
Where do we see them?
Trailers can be found on a variety of platforms: TV, in online media such as Facebook or Youtube, and in theaters/cinemas. In cinemas the trailers that are shown usually depend on the genre of the film that is being shown- for instance, if you were to see an action genre film such as X-Men Apocalypse [2016], trailers shown prior to the film would most likely be the same genre, such as Suicide Squad [2016] (because they can guarantee the same target audience being in the cinema at that time). On TV, it is rare that a full-length trailer is shown: they are usually shortened down to 30 seconds, and in some cases even just teasers with split-second shots followed by its release date in cinema. Some films are also advertised when they are released on DVD and Blu-ray. Online marketing has become very important for films generating a 'hype' or establishing a fanbase, especially when targeting a audience of young adults, who use social medias frequently. Often, advertisements target specific ages so it will show up on their 'newsfeed', 'twitter feed', etc.
When are they released?
The majority of trailers are released a few months prior to a film's release, and are shown increasingly in cinema when it is nearing this release date. However, films with a certain audience may release trailers even earlier in order to spark a 'hype' and give more time for audience engagement. For example, Suicide Squad, 2016, which features iconic characters in the superhero/action genre such as The Joker and Harley Quinn, released its first trailer on 19th January 2016 (and even a teaser, shown exclusively at ComicCon in 2015), despite the film's actual release being 5th August 2016 [UK].
Trailer 1
Universal's Despicable Me, 2010, is an animated family comedy film, rated PG (Parental Guidance, meaning some scenes may be deemed unsuitable for younger children as they show 'mild action' and 'rude humour'). The trailer depicts the film very clearly as targeted towards children, as the comedy shown is immature in nature and the action is often very slapstick: for instance, when the main character, Gru, is bitten by a shark and later is seen simply punching it away. The trailer can appeal to children of either gender as the more action-based scenes would keep, stereotypically, the boys interested and engaged, while the girls may get more enjoyment out of the softer and perhaps more comedic scenes, such as when Gru is reading his adopted children a story about 'three little kittens'. The trailer also appeals to young girls through showing female characters of varying ages, ensuring that the majority of the target audience gets representation: Margo (the eldest, most likely 10-12), Edith (the middle child, about 8-10) and Agnes (the youngest, about 6-7).
Trailer 2
Universal's Scott Pilgrim vs. The World, 2010, is an action comedy/fantasy film, rated PG-13. The film is based on a series of comic books by Bryan Lee O'Malley, and so already held a relatively established audience at the time it was made. Upon watching the trailer, I think that the target audience for the film is young adults of about 13-15+ as a minimum, as in the UK the age certificate is 12. However, I do think that considering the film's subject matter and genre, it appeals more to teenagers who have a similar sense of humour to the comedy shown in the trailer. The plot concerns Scott and his battle to defeat his new girlfriend Ramona's seven 'evil exes'. I think this trailer appeals to any gender because it has, quite obviously, a romantic plot, but there is also plenty of action shown in the trailer which is very fast-paced to make it exciting, along with comedy. It is also quite inclusive, as it features a gay man named Wallace who is quite non-stereotypical, as he is assertive and not flamboyant, as the stereotype goes. Although some of his lines make reference to his sexuality in a comedic tone, in my opinion, it is a fairly good representation and therefore may attract a wider audience.
Trailer 3
Fox's The Best Exotic Marigold Hotel, 2011, is a comedy drama, rated PG-13. It is about a group of retirees who go to a hotel in India, said to be newly refurbished- however, they soon realise it is worse for wear. I think this film is targeted towards the older generation for quite a few reasons. Firstly, the actors and actresses are all retirees and are quite big stars who have been in acting careers for a long time, and so are easily recognisable. Secondly, the comedy is quite light and is fairly stereotypical- for example, a moment in the trailer where one of the actors falls and they pronounce him dead, but then he gets up and asks, "Did I nod off?" (a stereotypical 'old person' thing to do). Overall, the comedy, plot (retirees going on a traveling adventure), characters, and the stars used for said characters, all lead me to decide that this is clearly a trailer designed to appeal to the older generation.
What are film trailers?
Trailers are, essentially, short compilations of films (usually the most exciting, humorous or action-packed parts, depending on genre) that attempt to appeal to a specific audience. The trailers will usually start with introducing a main character or multiple protagonists in a state of equilibrium (where everything is ordinary in their daily lives), before introducing a type of conflict that sparks the main plot. This may vary depending on the film, its genre, and whether it is convention-conforming or convention-breaking.
Why are they made?
Trailers are made to advertise a film's release (in cinema or even on DVD/Blu-ray) and appeal to as much of their target audience (movie-goers of a certain age, gender, etc) as it can, in order to, effectively, sell the film. Often nowadays, trailers will be released many months before a film's release in an effort to generate a 'hype'.
How do they work?
As a trailer aims to advertise, they will often be fast-paced and attention-grabbing, and if it is shown in cinema, especially immersive; many films will feature high-concept elements such as a recognisable soundtrack. Trailers often have distinguishable parts: firstly, the main narrative will be introduced, along with the protagonists. A disruptive event may then occur, sparking the conflict that furthers the plot and pulls the audience deeper into the narrative, making it engaging. However, trailers are, (more often than not), careful to keep an element of mystery; an enigma for the audience to solve that entices them into seeing the film to get the 'answer'. Finally, the trailer will end in a high-impact fashion or with a 'cliff-hanger' effect that will encourage the audience to see the film in full.
Who are they for?
Trailers for films all aim to appeal to a specific audience: people of a certain age range, gender, etc. For example, Disney/Pixar's Cars (2006) is an action/adventure/comedy marketed towards children; mainly boys of 5 and above (as its age certificate is G, General). It may also be tied to a gratification it may give the viewer; some may be looking for escapism or to identify with what they see on-screen. Although perhaps more of a relevant theory in TV, a film's genre will often fulfill a certain 'need' in the audience (e.g - a horror film showing violence, so the audience doesn't need to express it themselves).
Where do we see them?
Trailers can be found on a variety of platforms: TV, in online media such as Facebook or Youtube, and in theaters/cinemas. In cinemas the trailers that are shown usually depend on the genre of the film that is being shown- for instance, if you were to see an action genre film such as X-Men Apocalypse [2016], trailers shown prior to the film would most likely be the same genre, such as Suicide Squad [2016] (because they can guarantee the same target audience being in the cinema at that time). On TV, it is rare that a full-length trailer is shown: they are usually shortened down to 30 seconds, and in some cases even just teasers with split-second shots followed by its release date in cinema. Some films are also advertised when they are released on DVD and Blu-ray. Online marketing has become very important for films generating a 'hype' or establishing a fanbase, especially when targeting a audience of young adults, who use social medias frequently. Often, advertisements target specific ages so it will show up on their 'newsfeed', 'twitter feed', etc.
When are they released?
The majority of trailers are released a few months prior to a film's release, and are shown increasingly in cinema when it is nearing this release date. However, films with a certain audience may release trailers even earlier in order to spark a 'hype' and give more time for audience engagement. For example, Suicide Squad, 2016, which features iconic characters in the superhero/action genre such as The Joker and Harley Quinn, released its first trailer on 19th January 2016 (and even a teaser, shown exclusively at ComicCon in 2015), despite the film's actual release being 5th August 2016 [UK].
Trailer 1
Trailer 2
Universal's Scott Pilgrim vs. The World, 2010, is an action comedy/fantasy film, rated PG-13. The film is based on a series of comic books by Bryan Lee O'Malley, and so already held a relatively established audience at the time it was made. Upon watching the trailer, I think that the target audience for the film is young adults of about 13-15+ as a minimum, as in the UK the age certificate is 12. However, I do think that considering the film's subject matter and genre, it appeals more to teenagers who have a similar sense of humour to the comedy shown in the trailer. The plot concerns Scott and his battle to defeat his new girlfriend Ramona's seven 'evil exes'. I think this trailer appeals to any gender because it has, quite obviously, a romantic plot, but there is also plenty of action shown in the trailer which is very fast-paced to make it exciting, along with comedy. It is also quite inclusive, as it features a gay man named Wallace who is quite non-stereotypical, as he is assertive and not flamboyant, as the stereotype goes. Although some of his lines make reference to his sexuality in a comedic tone, in my opinion, it is a fairly good representation and therefore may attract a wider audience.
Trailer 3
Fox's The Best Exotic Marigold Hotel, 2011, is a comedy drama, rated PG-13. It is about a group of retirees who go to a hotel in India, said to be newly refurbished- however, they soon realise it is worse for wear. I think this film is targeted towards the older generation for quite a few reasons. Firstly, the actors and actresses are all retirees and are quite big stars who have been in acting careers for a long time, and so are easily recognisable. Secondly, the comedy is quite light and is fairly stereotypical- for example, a moment in the trailer where one of the actors falls and they pronounce him dead, but then he gets up and asks, "Did I nod off?" (a stereotypical 'old person' thing to do). Overall, the comedy, plot (retirees going on a traveling adventure), characters, and the stars used for said characters, all lead me to decide that this is clearly a trailer designed to appeal to the older generation.
Thursday, 14 July 2016
Friday, 1 July 2016
Inspirational Generic Trailers
Here is a short list of trailers of the crime genre that I find inspirational and how they use various forms and conventions.
Trailer 1
Above is the trailer for The Dark Knight, 2008. Although this is primarily classed as a superhero film, the plot revolves around a villain and crime lord, The Joker, and the mob/gang in the city of Gotham. Throughout the film The Joker creates chaos in the city and terrorises citizens, obviously a crime in itself, and challenges Batman constantly to save people from his plans, unless he reveals his identity to them.
The trailer follows quite a few conventions of the crime genre, mainly concerning plot: there is a secondary theme of a love triangle (between two main protagonists, Harvey Dent and Batman/Bruce Wayne, and a woman, Rachel Dawes), and of course, the conflict between the binary opposites of cops and criminals (as well as the vigilante Batman). Throughout the trailer there is the familiar iconography of props such as guns and knives, as well as typical events such as threats to the protagonists' lives and big explosions to make the trailer seem action-packed and intense.
In terms of the technical elements of the trailer, a technique I have found that reoccurs in many crime trailers is the use of fade in and fade out transitions, often to black. The soundtrack in this trailer is synchronised to this, with the typical use of a loud, sudden bang noise that happens in time with each new shot appearing. As the trailer progresses, the shots get shorter in duration so there is less time for the viewer to process each shot they see (again making it seem fast paced and intense) and the editing changes from the use of fade transitions to simple straight cuts, increasing the pace further.
I find this trailer inspirational because, to me, it personifies many of the typical elements of a crime film trailer, and I think that the use of editing especially, to make it fast-paced, is a technique I would like to reproduce in my own trailer because it makes it so exciting and more extreme.
Trailer 2
Above is a trailer for Gone Girl, 2014. Its plot centres around a man, Nick Dunne, and his wife, Amy Dunne, who goes missing. It becomes the focus of the media and Nick soon finds himself as the prime suspect in the investigation, as people begin to doubt that he could really know nothing at all of the disappearance.
This trailer differs quite a lot from the trailer for the Dark Knight in the way it displays conventions: such as how the soundtrack isn't the typical silence to a loud bang repeatedly as a suspense-creating technique, and is instead a soft piano track during the introduction of the characters and their at first happy equilibrium, which transforms into more tense music later on as the plot escalates. Although, like other trailers of this calibre that I have studied (such as Prisoners, 2013) there is the contrast of binary opposites; the cops vs. the suspects, in this case, Nick and the detectives. The trailer also presents the intriguing enigma of Amy's disappearance to draw the audience in, and gives snippets of when she is writing a diary that amongst other troubled entries reads, "This man of mine may kill me."
The typical iconography shown in this trailer includes crime scene props such as yellow tape, and press conference cameras flashing at Nick as he reaches out to the public for help finding Amy. The iconography seen in The Dark Knight's trailer such as guns and explosions do not appear in this trailer, due to the differences in nature, but the editing is similar as they both use straight cuts that increase in pace during the trailer to make it intense.
I find this trailer inspiring because to me, it breaks the conventions of a regular crime film of the 'disappearance of a loved one' theme, and I like how the plot is about police and general public's growing suspicion of Nick, and isn't the typical plot of a family desperate to find the missing person. I also like how it raises questions to the audience, such as the elaborate nature of Amy's diary and the contrasting ways in which Nick is presented through the diary compared to how he appears to everyone else. In my own trailer, I would like to create a plot that defies conventions and presents an enigma, perhaps not of the murder or disappearance theme, but unique nevertheless.
Trailer 1
Above is the trailer for The Dark Knight, 2008. Although this is primarily classed as a superhero film, the plot revolves around a villain and crime lord, The Joker, and the mob/gang in the city of Gotham. Throughout the film The Joker creates chaos in the city and terrorises citizens, obviously a crime in itself, and challenges Batman constantly to save people from his plans, unless he reveals his identity to them.
The trailer follows quite a few conventions of the crime genre, mainly concerning plot: there is a secondary theme of a love triangle (between two main protagonists, Harvey Dent and Batman/Bruce Wayne, and a woman, Rachel Dawes), and of course, the conflict between the binary opposites of cops and criminals (as well as the vigilante Batman). Throughout the trailer there is the familiar iconography of props such as guns and knives, as well as typical events such as threats to the protagonists' lives and big explosions to make the trailer seem action-packed and intense.
In terms of the technical elements of the trailer, a technique I have found that reoccurs in many crime trailers is the use of fade in and fade out transitions, often to black. The soundtrack in this trailer is synchronised to this, with the typical use of a loud, sudden bang noise that happens in time with each new shot appearing. As the trailer progresses, the shots get shorter in duration so there is less time for the viewer to process each shot they see (again making it seem fast paced and intense) and the editing changes from the use of fade transitions to simple straight cuts, increasing the pace further.
I find this trailer inspirational because, to me, it personifies many of the typical elements of a crime film trailer, and I think that the use of editing especially, to make it fast-paced, is a technique I would like to reproduce in my own trailer because it makes it so exciting and more extreme.
Trailer 2
Above is a trailer for Gone Girl, 2014. Its plot centres around a man, Nick Dunne, and his wife, Amy Dunne, who goes missing. It becomes the focus of the media and Nick soon finds himself as the prime suspect in the investigation, as people begin to doubt that he could really know nothing at all of the disappearance.
This trailer differs quite a lot from the trailer for the Dark Knight in the way it displays conventions: such as how the soundtrack isn't the typical silence to a loud bang repeatedly as a suspense-creating technique, and is instead a soft piano track during the introduction of the characters and their at first happy equilibrium, which transforms into more tense music later on as the plot escalates. Although, like other trailers of this calibre that I have studied (such as Prisoners, 2013) there is the contrast of binary opposites; the cops vs. the suspects, in this case, Nick and the detectives. The trailer also presents the intriguing enigma of Amy's disappearance to draw the audience in, and gives snippets of when she is writing a diary that amongst other troubled entries reads, "This man of mine may kill me."
The typical iconography shown in this trailer includes crime scene props such as yellow tape, and press conference cameras flashing at Nick as he reaches out to the public for help finding Amy. The iconography seen in The Dark Knight's trailer such as guns and explosions do not appear in this trailer, due to the differences in nature, but the editing is similar as they both use straight cuts that increase in pace during the trailer to make it intense.
I find this trailer inspiring because to me, it breaks the conventions of a regular crime film of the 'disappearance of a loved one' theme, and I like how the plot is about police and general public's growing suspicion of Nick, and isn't the typical plot of a family desperate to find the missing person. I also like how it raises questions to the audience, such as the elaborate nature of Amy's diary and the contrasting ways in which Nick is presented through the diary compared to how he appears to everyone else. In my own trailer, I would like to create a plot that defies conventions and presents an enigma, perhaps not of the murder or disappearance theme, but unique nevertheless.
Chosen Genre
Our chosen genre for our film trailer production is 'crime'. From the beginning of the project, me and my partner, Tia
Briers, agreed that we want to defy conventions, but at first we
struggled to find a suitable plot, along with characters etc, that would allow us to do that (whilst
still being plausible and realistic in terms of production and resources). To get together some initial ideas, we made a
mind-map.
The forms and conventions we would like to include as a result of the brainstorming session are:
Plot
After going over many possibilities (such as the usual cop vs. criminal conflict) we decided we wanted something that was creative and unique, so that the trailer could be recognized as different from the typical crime film that modern audiences may now be unimpressed by. We decided we wanted to go for the route of criminal vs. criminal, but keep it ambiguous in the trailer regarding who the audience should be rooting for; the plot follows a hacker and supposed member of the 'Anonymous' group (famously represented by the Guy Fawkes mask), who is looking to punish drug users and addicts. However, this character is not a member of Anonymous, and is in fact an individual who is faking it and holds a misguided sense of revenge and motive, with hints of murderous tendencies. The drug users have done something against him/her (the gender is so far undecided), and they seek vengeance, but the enigma in the trailer lies in the fact that what has been done to make them want it isn't specified. This is our initial idea for the plot, as we will go deeper into it during future planning stages.
Characters
The initial list of characters so far is very short according to plot, but there is the possibility of extras later on in the planning process, perhaps for realism purposes and to make it more professional.
Anonymous/Hacker - gender undecided due to target audience needing to be specified
Drug addicts/'druggies' - both female and male, to further defy conventions
Props
Fake guns
Guy Fawkes mask
Prop drugs (e.g flour or sugar crystals)
Gloves - leather
Knife (a prop for the hacker to make them more threatening)
Webcam/laptop (we want to create a video of the 'Anonymous' member speaking of his plans)
Headset & mic (again for the hacker)
Smoke machine (for a possible drug den)
Fake blood (to stain the hacker's clothes)
Locations
Drug den - location can be chosen later in production
Studio - for hacker scenes
Alleyway - for possible drug scenes
Effects
Using a typewriter/scroller text effect on-screen to show what the hacker is typing would give the hacking scenes a modern or futuristic look and make it more professional. We could also use this as our title font to create an established theme for the trailer and keep it consistent.
Cinematography
Our initial ideas for styles of cinematography we want to use are:
Slow motion shots to dramaticize the trailer
Close-ups
Glitches and pixel-y footage to match the hacker theme and keep the trailer engaging
Straight cuts between mid-shots and close-ups, with the close-ups lasting for a split-second
Arc shots, such as when a character is holding a gun
Hand-held shots
Tracking shots for fast-paced scenes
Lighting: for one of the scenes we would like to have cross-lighting, where we have blue light on one side and orange on the other, to create contrasting colours and give our trailer its own unique style of cinematography.
The forms and conventions we would like to include as a result of the brainstorming session are:
Plot
After going over many possibilities (such as the usual cop vs. criminal conflict) we decided we wanted something that was creative and unique, so that the trailer could be recognized as different from the typical crime film that modern audiences may now be unimpressed by. We decided we wanted to go for the route of criminal vs. criminal, but keep it ambiguous in the trailer regarding who the audience should be rooting for; the plot follows a hacker and supposed member of the 'Anonymous' group (famously represented by the Guy Fawkes mask), who is looking to punish drug users and addicts. However, this character is not a member of Anonymous, and is in fact an individual who is faking it and holds a misguided sense of revenge and motive, with hints of murderous tendencies. The drug users have done something against him/her (the gender is so far undecided), and they seek vengeance, but the enigma in the trailer lies in the fact that what has been done to make them want it isn't specified. This is our initial idea for the plot, as we will go deeper into it during future planning stages.
Characters
The initial list of characters so far is very short according to plot, but there is the possibility of extras later on in the planning process, perhaps for realism purposes and to make it more professional.
Anonymous/Hacker - gender undecided due to target audience needing to be specified
Drug addicts/'druggies' - both female and male, to further defy conventions
Props
Fake guns
Guy Fawkes mask
Prop drugs (e.g flour or sugar crystals)
Gloves - leather
Knife (a prop for the hacker to make them more threatening)
Webcam/laptop (we want to create a video of the 'Anonymous' member speaking of his plans)
Headset & mic (again for the hacker)
Smoke machine (for a possible drug den)
Fake blood (to stain the hacker's clothes)
Locations
Drug den - location can be chosen later in production
Studio - for hacker scenes
Alleyway - for possible drug scenes
Effects
Using a typewriter/scroller text effect on-screen to show what the hacker is typing would give the hacking scenes a modern or futuristic look and make it more professional. We could also use this as our title font to create an established theme for the trailer and keep it consistent.
Cinematography
Our initial ideas for styles of cinematography we want to use are:
Slow motion shots to dramaticize the trailer
Close-ups
Glitches and pixel-y footage to match the hacker theme and keep the trailer engaging
Straight cuts between mid-shots and close-ups, with the close-ups lasting for a split-second
Arc shots, such as when a character is holding a gun
Hand-held shots
Tracking shots for fast-paced scenes
Lighting: for one of the scenes we would like to have cross-lighting, where we have blue light on one side and orange on the other, to create contrasting colours and give our trailer its own unique style of cinematography.
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