A recent trend in trailer editing is sound effects being used as the “score” of the trailer or drawing even more attention than traditional trailer sound design. Why might an editor want to use this approach for their trailer?
Unless you have outside restrictions, the length of a trailer shouldn't be the first question in mind, because good editing can make two minutes fly by, and bad editing can make one minute feel like an eternity.
Teaser trailers are often even better than the full trailers because they have to be so enticing that people maintain interest, yet don't know enough so that they can make a full decision on whether or not they want to see it. How do you strike this balance?
Sometimes when there's a built-in audience for an already popular property, great trailers are made, and sometimes it's clear that the trailer producers knew that how the trailer is edited isn't as important as just showing what the audience wants to see.
Some of my favorite trailers are for love stories I either didn't like in the final film, or didn't find as affecting as I did in the trailer. What is it about the storytelling of a trailer that works differently from the final film that causes this to happen?
Two stories about the events that lead up to me getting two of my favorite gigs. Nothing I did that got me these gigs were done for the sake of getting hired, and yet it worked out that way in the end.