![]() “A great part of all the work is about capturing that feeling of experiencing the film for the first time, what that was.” “We analyze the emotional architecture, understanding how it’s put together, the different points of the film, how to harness that idea, and capture that in two minutes,” Woollen said. The first step is what he calls “a film autopsy,” breaking down the movie’s structural elements and figuring out the best way to rearrange them, like taking apart a complex engine and reassembling it in a brand new way. It’s like a beautiful piece of art that evokes emotion.” “He sees film with his heart and soul and it comes out with the work that he is able to bring to the big screen. “Mark has a way of being able to perceive the filmmaker’s vision for a feature in its short form better than anyone else in the business,” said Focus distribution chief Lisa Bunnell. “Jarmusch has a certain tempo to how his films work: You need to capture that feeling.” “Iggy Pop as a zombie is a good start!” said Woollen. On Jim Jarmusch’s zombie comedy “The Dead Don’t Die,” Woollen threw in a throwback announcer from the George Romero era, Adam Driver one-liners, and dripping red fonts. Not anything is black and white.”Įvery trailer contains an element of detective work using the the earliest-available materials, Woollen and his team must divine how the final movie will look and feel. So there’s lots of conversations, collaboration, gut reactions to the film, figuring it out. ![]() “People come to us for a certain point of view,” said Woollen, “how we handle the material. Today, Woollen’s Main Street Santa Monica building boasts its own parking lot, a trophy room lined with awards, and houses producers, music supervisors, editors, copywriters, and graphic designers who assemble some 200 trailers a year for specialty foreign-language, documentaries and narrative films as well as studio fare and television including HBO’s “Big Little Lies” and “Sharp Objects,” Netflix’s “Ozark,” and “Aziz Ansari: Right Now,” the stand-up special directed by Spike Jonze. Just two snippets of dialogue (“Goodbye, Jews!”/”The list is life.”) the rest was evocative and silent images, underpinned by a passage of Wojciech Kilar’s “Exodus,” since John Williams was not yet finished with what would become the film’s Oscar-winning score. Woollen was only 22 when he cut the trailer that gave him his big break: “Schindler’s List.” Steven Spielberg’s black-and-white drama is now recognized as a classic, but in 1993 Woollen’s trailer was radical: No stentorian voiceover, telling viewers what to expect in fact, no voiceover at all. ![]() “Mark consistently delivers on showcasing what’s best about a film,” she said, “to the extent that even version-one of his trailers have been known at Searchlight to induce chills and have us reaching for the tissue box.” ![]() Most recently, he edited the trailer for Terrence Malick’s “ A Hidden Life.” When she first saw it, Fox Searchlight co-president Nancy Utley said she was reminded of why she acquired the World War II anti-Nazi film out of Cannes. (“The Big Lebowski”), and Lulu Wang (“The Farewell”). The Best 36 LGBTQ Movies and TV Shows Streaming on Netflix Right NowĪmong those he’s served are Barry Jenkins (“Moonlight”), Darren Aronofsky (“Black Swan”), Steve McQueen (“12 Years A Slave”), Alejandro González Iñárritu (“Birdman”), David Fincher (“The Social Network”), the Coen Bros. Where to Watch This Week's New Movies, from 'Beau Is Afraid' to 'Evil Dead Rise' and More 'Fatal Attraction' Trailer: Lizzy Caplan Is Not Going to Be Ignored 'Chile '76' Trailer: Pinochet Thriller Is Gripping Feminist Cinema Inspired by Hitchcock ![]()
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