The trailer for our second film, Albert, is now online at Vimeo – you can view it here.
Creating a trailer is a fascinating process. Condensing the eight minutes of Albert into 26 seconds (plus four for the credits) isn’t as easy as you might think. I can’t imagine what it’s like doing the same thing for a two-hour feature.
In the end, it’s all about giving a taste, not trying to represent the whole story.
The most difficult part is killing your darlings, as the saying goes. You have to do this when editing the movie – shots you love for their technical merit, or the performances they capture – still have to go if they don’t contribute to the story.
In Impasse, for example, I was very pleased with one particular cut on action. That’s where you cut to a different angle right in the middle of some piece of action – in this case, the main character getting up off the ground. It’s trickier than you might think: unless you’re shooting multi-camera, the two shots you use to show one action are actually separate takes. But everything must match as closely as possible. What pleased me no end with the cut on action in Impasse was that the two shots were taken on separate days, but matched perfectly.
But, in the end, it had to go. The shots simply didn’t contribute enough to the story, and slowed down the action.
With a trailer, you have to kill even those darlings that made it into the final film. In the Albert trailer, I haven’t chosen my favourite shots because they either give too much away, or don’t make sense as short snippets. It’s a tough call.