PERFECT SENSE
As much as I dread voice-overs in movie trailers, sometimes they can be necessary. They can still be pathetic but otherwise the trailer might not make sense, or be as enticing as they could be. Particularly when said trailer is edited rather unorthodoxly. Instead of cutting around the plot, the trailer has been cut around the characters. This makes for a more diverse form of editing, a different way of luring the audience into taking interest in the movie.
However, before the viewer realises the style of editing, the first minute it is a pure cheese-fest. Eva Green’s fatigued voice rolls over dull images of what could be a badly put together romantic drama. Thus making the film seem unimportant and unoriginal. Then something happens.
The editing gets more complicated and the voice over fleshes out, intensifying the trailer. We are offered glimpses of a reality we do not necessarily know as our own, but one we can most definitely still relate to – even though little, if nothing, of the actual plot (if there indeed is one?) – is exposed.
All this time, the viewer never gets a full image of what this film is like. General moods are created and hints are dropped, but the public is never directly told what to expect. Herein lies the absolute strength of the trailer. And the voice over is half of the reason why. It is very hit-and-miss but the bits that work do so extremely well.
With a great cast like that, it is not necessary to sell the movie through them. It kinda sells itself. Thankfully, the publicity crew had the wisdom to create an appealing trailer that sells itself, not its stars. Yet the main actors’ names are displayed from the start of the trailer till its end. This ironically works in its advantage, making for a structure that is untraditional and that intrigues the avid cinema-goers (read: trailer gawkers). As for the non-film geeks, they should easily be seduced – again, not just by the cast – but by the mystery surrounding the film’s plot.
The music works like a charm and underlines the obscure atmosphere and unclear plot superbly. The strength of the film lies in its fine balance between not knowing what is really going on and keeping mystery exciting, not odd or alienating. A good 7/10.
BURNING PALMS
Here is a great example of when a trailer cut to music really works.
Other than that the trailer is your standard quirky, graphics-based presentation of a cute indie movie. You know, typical stuff. A presentation of characters, making for a structure where plots are not the most interesting: it’s about character studies. This works within context, but is not note-worthy and I won’t linger on it longer.
But do take note of the music chosen. God forgive me, I do not recall what it is. I have it on the tip of my tongue and its killing me…
Be that as it may, it is one of the rare times an over-used, über recognisable tune has been used wisely. The trailer revolves its structure around the anticipation of the music’s climax and the story, as it were, lends itself well to such an edit. This would be a great template to anyone who wants to learn to cut to music. It is not too over-powering and the story is not neglected.
Even though I despise montages, I think it would be impossible to cut this trailer any differently without the inclusion of one. Indeed montages can work, when done with ingenuity and wit, not because it’s a sure winner with the audience.
In fact, the montage creates and sets the mood for the story, which – if cut differently - could have been clumsily. You might be overwhelmed by it all, possibly unsure of what everything means or how it relates to each other, but it works. It evokes excitement and grabs the full attention of the viewer – and not just because it’s a loud piece of instrumental music.
This movie sells itself well through this approach. It is presented as quirky, unpretentious and does not try too hard to impress. It lacks the usual atrocious series of one-liners one normally witnesses in trailers for this sort of movie and it is a brilliant breath of fresh air.
Its choice of structure is not an unfamiliar one, but the edit is so neat and poignant that it really hits home. Do yourself a favour and watch it: 8/10.
CARBON NATION
Documentary trailers have a certain structure to them. I have pointed this out before and this promo is another one cut traditionally that goes straight to the point. Done.
Trailer for documentaries work best when they don’t try to create a mood like for fiction pieces. This allows an unbiased, honest piece, this time about the environment and how one can deal with climate change.
The physical edit is traditional (talking heads, etc.) but the concept does try to deviate from the usual. The absence of a patronising voice over is much appreciated. The choice of music is refreshing. The graphics make sense and tell the story, rather than contain lots of quotes from various magazines and newspapers or what awards the movie has been awarded. The whole promo has gone 180 degrees the opposite way from the standard edit and it goes well with the idea that this is a movie about climate change “that doesn’t even care if you believe in [it]”.
This is a documentary that wants to sell itself, not boast to the public what it has achieved. Sure, this tends to win over people who would otherwise not bother with documentaries, but it still works, if people are given a chance to watch it.
It is a simple concept, which makes for an easy trailer. A nice 7/10.
Louise-Afzal Faerkel
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