British Kinematography (1953)

100 BRI I ISH KINI MA IOGRAPHY Vol. 23, No. 4 commentary may be rephrased, but most times the shape of the trailer, that is, its sales angle, is accepted. The physical work on the trailer now begins. The scenes are ordered up around the script and we wait for the necessary materials to be delivered to us from the laboratory. The sorting out of material thereafter is a lengthy business although we are never exactly waiting for the material on the last picture we have seen as there are always many other trailers in production at the same time. The final married feature prints are often viewed for the making of a trailer. This, of course, simplifies the Editor's job, but raises many technical problems. From a cutter's point of view, working on full takes is preferable to working on scenes taken from the cut negative, since with full takes, scenes can be telescoped to our heart's desire, and we can juggle much more effectively with music and effects. Above all, however, time is the factor which decides the way we work. In most cases it is essential to work far ahead of the film's completion in order to meet the prereleases which are often fixed whilst the first print is still drying in the laboratory ; hence the general procedure of viewing the rough assembly of the picture before the feature negatives have been touched. It is the only way that coverage for West End and other early dates — and sometimes even general release dates — can be guaranteed. Three examples of trailers were projected: The first trailer, for Woman's Angle, was an example of special shooting, all the main Stars of the film in character role making their own introductions. The second trailer was for Mississippi Gambler, made by National Screen America. Here, Tyrone Power introduced the story and the characters. The third trailer was for Treasure Hunt, with Jimmy Edwards filmed for special introductory comments. Material for the trailer takes some time to prepare at the laboratory and some of this time is used to put in hand the titles which are to be superimposed over the scenes. The narration is meanwhile recorded, so that all the facilities for finally cutting together the trailer are available. The title presentation and narrative used for trailers are exceedingly important and can, if they are wrong, mar a great deal of the trailer. The manager of the art department is always presented with a script of a trailer and a discussion takes place as to the type of lettering required, and a rough layout of the titles is prepared. Title Animation Similarly, a script is handed to the camera room with specific instructions for title animation. The placing of titles over scenes is given special attention and although sometimes complaints are made about titles covering the scenes too much, we are completely aware of this and do it with intention if we want the title read. Its backing is a scene which we do not mind you missing and is merely there to add atmosphere. We aim at a combined effect of title and background and are not interested in the single effect of either component. Where the picture must be seen clearly and the titles also, as in the case of portraits of Stars, the title is written at the bottom of the screen. Narration Where shots are interesting to look at, but would not in themselves be sufficient to hold your interest, such material would be utilised for narration. This leads to a very vital point in trailer making. The right kind of narration and the right kind of narrator play a very important part in a trailer and it is very difficult to find the most suitable man for the job. It is essential for a trailer narrator to know how to act with his voice. A straight news reader is usually of little use. A trailer commentator must be prepared to be melodramatic without, in fact, giving that impression. He has to get into the mood of the subject — and subsequently add to that mood. He must sell the film without forcing it on the public ear in an annoying manner.