How does the man behind the trailer inspire the movie?

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How does the man behind the trailer inspire the movie?

Mark Woollen has created trailers for many oscar-nominated films, including Boyhood, The Everything of Everything and Birdman. He talked about how he made the audience for the first time.

This is fresh air. I’m David Davis, terry gross, who closed this week. Oscar’s movie trailers don’t have a category, but our guest Mark Woollen has created trailers for many oscar-nominated films. This year alone, he made trailers for “boyhood”, “theory of everything” and “birdman”, and won best picture last night.

(sound trailer)

MICHAEL KEATON :(just like Riggan) how did we end up here? This place smells like a curse. We have everything.

Unknown actor # 1 :(as a character) you’re a movie star, remember?

Unknown actor # 2 :(as a character) who is this guy?

Unknown :(as a character) he used to be a bird.

KEATON :(like Riggan) I like that poster.

Unknown actor # 3 :(as a character) you write this adaptation?

KEATON :(as Riggan) I did, yeah.

Unknown actor # 3 :(as a character) and you are directing and starring in your adaptation? This is ambitious.

Davis: Mark Woollen selects images, dialogues and music to make the trailer, which will play the trailer in the months before the release. Since he went to high school, he has been editing movies and videos professionally. In the past few years, he has produced “12 years of slave”, “Dallas buyers club”, “Nebraska” and “she” trailers. One of his first trailers was the film schindler’s list. Terry Gross introduced him to his work and how he made a movie audience.

TERRY GROSS, host:

(laughter) Mark Wool, welcome to FRESH AIR. One of the frustrations I encountered when I was watching the trailer in the theater was that some of the trailers basically told me the whole movie. They showed me the last act of the film. I was thinking, well, I don’t like the stories they show me, and I know the whole thing. Why should I bother, for example? Why did they do that?

MARK WOOLEN: I know, I know. I really hate it when I see terry trailer doing this. And that’s what we’re avoiding in the movies we’re making. I mean, I think it must have been an example last year, when we studied the “Gone Girl” of David Fincher. That is a us in the whole movement of the film, in fact only in the first hour of movie to begin to work, because the audience once to go to the movies, there are a lot of things to discover, and we don’t want to damage the film. So we’re very careful with this exercise.

But, I know what you mean. I did see the examples in the trailer, which involved all of these things. You know, the data that big studios often use is attractive, they point in that direction – the more viewers, the more likely they are to go. I don’t have to do that. It’s not something we do at work, but it does happen.

MAO: you made a great trailer for the movie I really liked. This is the coen brothers movie “a serious man,” you know, is he a college professor? -he just had this crisis of faith, with a midlife crisis and a marriage crisis, you know, he didn’t know who to turn to. Maybe it’s a rabbi, but rabbi’s busy. It’s not – you know, he didn’t get the help he was asking for from rabbis. So you made a trailer. You want to tell the story behind the trailer?

WOOLEN: of course. Over The years, I’ve made some of their movie trailers for The coen brothers, back to “The Big Lebowski,” I want to say. They always want to — you know, their movies are so unique, the characters they create are always worth something different.

I remember “serious people,” they said, you know, we’ve made a non-traditional movie, you know, we’re going to have a non-traditional trailer. And this moment in this movie is probably about – I think it’s about five or six seconds, the head is being blocked by the blackboard. And we also have this feeling – there is always time to be with us. We’re kind of wondering, is there a way — you can set up a trailer at that moment, just a few seconds?

So the idea that we started playing with this role is — you know, he’s in this cycle of despair and frustration that is happening. It feels like a collision head is really a perfect metaphor. So we basically use so – I know, I talked about trailer is how the rhythm of a lot of, so the man’s skull on the blackboard to beat the sound really turned into a trailer of the baseline and the rhythm of the trailer. We also started looking for other interesting sounds.

You know, the sound can be so amazing – it’s an amazing trailer tool. So for some time, a secretary coughed up some sputum. So, you know, it’s first of all as a boom, a board boom, and then a boom, ah (ph), boom, ah (ph). Then he bumped into his car and added it to the mix. We ride the bike again and remix the sounds, so it’s a boom, ah, crash, etc. This is what he set up to tell his story. It feels right.

MAO: very effective. Why can’t we hear how the trailer is made, and we’ll hear how the head hits the blackboard and how it sounds.

(sound trailer)

MICHAEL STUHLBARG :(like Larry Gopnik) please help me. I have a marriage problem.

SARI LENNICK :(as Judith Gopnik) honey, I think we should start talking about divorce.

FRED MELAMED :(as Sy Ableman) Mary, we’ll be all right.

STUHLBARG :(like Larry Gopnik), your name.

ARI HOPTMAN :(like Arlen Finkle) Larry, we’ve received a lot of denigration from you and urged us not to grant you tenure.

STUHLBARG :(like Larry Gopnik) I need help.

MELAMED :(like Sy Ableman) we’ll be fine.

(car music sound)

STUHLBARG :(like Larry Gopnik) I’m trying to be a serious person.

ALAN MANDELL :(as rabbi Martha) uh.

MELAMED :(like Sy Ableman) we’ll be fine.

STUHLBARG :(like Larry Gopnik) I tried to do the right thing and become a member of the community.

Mandel :(as a rabbi.) uh.

MELAMED :(like Sy Ableman) we’ll be fine.

(car music sound)

STUHLBARG :(like Larry Gopnik) please tell him I need help.

Mandel :(as a rabbi.) uh.

STUHLBARG :(like Larry Gopnik) please.

MELAMED :(like Sy Ableman) we’ll be fine.

(car music sound)

STUHLBARG :(like Larry Gopnik) I need help.

Mandel :(as a rabbi.) uh.

MELAMED :(like Sy Ableman) we’ll be fine.

(car music sound)

STUHLBARG :(like Larry Gopnik) (sigh).

(door closes)

Claudia wilkens :(marsak’s secretary) rabbi is busy.

STUHLBARG :(like Larry Gopnik) he doesn’t look busy.

Wilson :(secretary of massouk) he’s thinking.

MAO: this is a trailer for the coen brothers’ “serious man”, made by my guest Mark Woollen.

So we talked about the whole story, you explained that you don’t like that, you don’t do that. Then, like animated movie trailers, most and I know you are doing, just like India art museums, but the action movie trailers, usually there will be a lot of explosion, impact and gunshots, and then the percussion sound seems to have replaced the in action films before. This is the sound of percussion.

I recently used a multiplexing and saw the same sound effects for four trailers. So I’m going to play a trailer for the upcoming movie “Chappie”. It seems to be a robot capable of thinking and feeling like a human being, but some people want the robot to be destroyed, afraid that he will actually object and become very dangerous. So this is the trailer that starts with Anderson cooper’s voice on TV. And listen to the opening sound effects that are repeated through the trailer.

(sound trailer)

Anderson Cooper (as Anderson Cooper) in 2016, the deployment of the world’s first robot police force has become a global focus.

Computer generated voice :(as a character) drop your weapon. You’re under arrest.

(who SOUND)

Cooper :(as Anderson cooper) Vincent Moore is a former soldier.

HUGH JACKMAN :(just like Vincent Moore) the problem with artificial intelligence is too unpredictable.

Cooper :(as Anderson cooper) scout’s creator, deon Wilson, sees a rich future.

DEV PATEL :(just like Deon Wilson) I’m interested in a machine that can think and feel.

(who SOUND)

Anyway: now I’m going to jump to the trailer’s tail, so you’ll hear, like the whizzing and percussion of the high-pitched version.

(sound trailer)

SHARLTO COPLEY :(just like Chappie) I’m conscious. I’m still alive. I am a Chappie.

(who SOUND)

MAO: ok. Mark Woollen (laughter) can you explain why so many trailers use the same sound?

Wool: I don’t know. It’s hard for others to talk about me.

MAO: I thought you might think so.

WOOLEN:… Other people’s work. It’s like a morning zoo show, you say, you know, terry, tell me why they did it?

MAO :(laughter)

Wool: I don’t know. It’s strange to me.

GROSS :(laughter) the closest you’ve ever made to the trailer is in the movie adaptation of “hairdresser Todd.” A little voice, but that’s because Sweeney as Sweeney – he was like a demon barber, his razor is used to kill people, so I think you want to get sound like a razor, and but have a little bit of a blow, clangy (ph) things on the trailer.

WOOLEN: yes. I mean, in general, I can say that the trailer is about the rhythm, and what we’re trying to do is determine a speed. Again, I can’t explain the specific choices behind it. This may not be my taste, so – I’ll do it in a different way.

MAO: in some ways, you’re the wrong person. I’m going to interview movie trailers on the radio, because your trailers are usually very visual. Some trailers don’t even have a conversation. For example, the first trailer you ever made was a trailer for schindler’s list. All image is always the same – basically all the image of the jews, is like a train, dig the grave, has everything they confiscated, it’s just a very harsh, exquisite filming and editing the trailer. The only language is what you see – I don’t know – a 12-year-old boy, maybe waving to the jews, you know, they go to camp, she says, goodbye, Jew. Finally, someone said, the list is life. Can you talk about being a tow truck, like there’s no conversation?

WOOLEN: there’s a “schindler list” trailers, which is one of the first things I’m really proud of. I worked in the trailer division of universal pictures, and I was about 21, and I was editing the trailer at that time. But I have already been to the first film of the film, and I remember clearly that the film company first saw the film, and then the next movie was for the Marketing Department. We had about three or five people in the show.

I remember the first time to see the film, as well as the emergence of the film and emotional, and everyone is in a different state of trying to hide his tears, and it has such emotional impact. So when I look at the trailer, that’s what I’m attracted to. How does this create the sense of what this emotional experience might be? So I started really looking at all the images, the ones that really affected me, and the images popped up, and I started trying to see if I could tell a story visually. And I have a music that really runs through. This is what I keep doing, you know? And a lot of the work over the years did find the perfect combination between music and the image,

MAO zedong: mark MAO, thank you very much for talking with us.

WOOLEN: thank you, Terry.

DAVIES: Mark Woollen makes trailers for art films, including three of the best picture nominees this year. Maureen Corrigan recalled the biography of Britain’s first jewish prime minister and her wife, “lady Disraeli.” This is fresh air.

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