How much do you show?

What exactly do you tell?

Because just like each film is different, each trailer needs to be different as well.

To represent this, I'm Jessica Fox and I'm a creative director at Marc Bolan Associates.

And these are the questions that we ask us in.

Creating a trailer is a very collaborative process.

Filmmakers bring their work to a studio, and it's studios job to work with the filmmakers to create a vision of how that film is going to be released to the public.

Maybe this is in theaters.

Maybe it's online.

Maybe it's in the fall.

Maybe it's in the summer.

Filmmakers and studios, then bringing agencies.

And it's a job of all of us working together to create a trailer.

A first look at this Phil when deciding how to best represent a film in trailer for we often sit back and look at what the film made us feel.

Is this a film that's best explained through a story to allow the audience to understand what's happening in the movie?

Or is this a film that's best explained through its style.

In either case, we pick the elements that are going to work best to support the narrative that we think is the strongest in the film.

Some of the advantages when you have a film that is completely finished is you get a real sense of what the director's vision is.

You're hearing the music you're seeing.

The pacing you understand with the tone is, and then you try your best to replicate that tone and a vote that in the trailer you're working on, you're a movie star.

Remember, now you're about to destroy what's left of your career, doesn't come back.

You're becoming a trending topic.

I got a chance to do something right.

But inside an agency, there's also a collaboration that happens from the creative directors and producers who helped oversee the process and create what they think the story should be.

Two editors who are in there with the material figured out exactly how to make each shot in each dialogue work to assistant editors who mind Bruce all of the material you have in order to catalogue and organize everything for editors to use to music supervisors who helped us like that perfect piece of music or sound design.

What to show and what to leave behind is a tough one.

You want to make sure that your showcasing some of the best assets of film has to offer.

Oftentimes is his pedigree.

Your cast, your director, sometimes your producers.

This information is important to let the audience know that you're gonna be seen.

Some of your favorite people involved in this film's.

This information is also important to help elevate the film.

Big names associate with films tend to imply bigger budgets in effect, perhaps more of a bigger spectacle when it comes to story.

Just how much do you tell?

Well, you want to tell enough to the audience understands what's happening, but I deal.

You don't want to tell so much that everything feels completely wrapped up.

This can sometimes be tricky and stories where there's a lot of suspense and the audience is left to wonder.

Will there won't they?

Well, someone escape Well, this thing happen.

Take the engine.

We control the world when it's time.

Soon.

Essentially, you want to tell enough of the story.

To get an audience is interest, but you don't tell so much that they feel they've already seen the fulfill.

Another element that can help decide what gets into a trailer on what stays out is relying on what's notice.

Quadrants, quadrants break down your audience demographic into categories based on age and gender.

Typically a film and those involved in making the film would love to hit all four quadrants at a very base level when thinking of quadrants.

There, four basic ones.

There's younger males, younger females, older males and older females.

Of course, they're certain films whose prime audience falls into one or two of these quadrants.

But most films would love to get as many people from each quadrant as possible interested, and that's where marketing comes in.

Certain genres appeal to certain demographics more easily so action films, big blockbuster films.

Your large franchise films typically find a comfortable home in younger audiences.

Specifically younger male audience is not to say everyone doesn't enjoy them, but that's where you're getting your bulk of people interested.

So then what do you d'oh!

If you want to show that this movie has more to offer than just something perhaps younger male audience would be interested in.

That's when you might choose to include information in a trailer that's specifically targeted toward a different group.

For instance, in an action adrenaline filled moving, if there's a love interest that might be of interest to a different quadrant, including that might broaden your appeal.

What do you want, Peter?

I want to go back on my trip with a girl who I really like and tell her how you feel.

M J R M Spiderman.

No, of course not.

I mean, it's Justus audiences air ever evolving.

So is the way to measure and categorizes audiences.

So quadrants are just one tool.

And by no means is that the only thing that studios and agencies look at when deciding how to market a film.

One way to determine who is most interested in seeing your film is through audience testing.

Sometimes they're a plot points or characters that are introduced later in the film, but because of their importance, feels necessary to include them in the trailer.

This could be because the character is a well known actor that's going to help elevate the movie where the plot point is something that helps promise more to the film, maybe a sense of hope in a movie that seems very dark and depressing.

Another example of a way to frame a trailer is to actually make it two trailers at the same time.

Notice companion pieces.

In doing so, you might tell one person story in one trailer and another person story in another trailer.

Thes two trailers could, in theory, live separately as you would be getting a full story in one trailer and a different but full complete story in this other trailer.

However, when put together, they give a greater sense of what the film has to offer and also promises the idea that you're going to be seeing a story from different perspectives.

Ah, what I love about Charlie loves being a dad.

It's almost annoying how much he likes a little.

What I love about Nicole.

Nothing.

She's a great dancer if you have a story that has a love interest, also has a lot of action, has a bit of drama, has some suspense.

You might cut multiple television spots, each one focusing on one of those elements taken as a whole.

They're all true to the film, and they're all part of the greater picture.

But you can individuals select where each one of these television spots go, so that spot is getting to the audience.

That's going to be the most receptive to that message.

So when there's so many stories to tell in so many different ways to tell these stories, every decision is very deliberate.

A lot goes into thinking about how this best serves the film and how this is going to fit into the 2.5 minutes.

You have to show the audience what the film has to offer.

So when we're speaking about quadrants or testing audiences or working from completed films or working from dailies or telling a story and a teaser or a trailer or a TV spot, the options are limitless.

What do you include?

What you leave behind.