Quésaco: “trailerization”, or when old hits boost the notoriety of a trailer

(ETX Daily Up) – In the 19th century, music was only used to make noise in movies. It now represents an industry in its own right in the world of cinema, as evidenced by the “trailerization”. This trend shows how producers and composers of music have become an integral part of the filmmaking process. Decryption.

“Grease”, “The Good, the Bad and the Ugly”, “Stars Wars”, “The Godfather”… Difficult to list all the soundtracks that have marked the history of cinema. That of “Bodyguard” even sold nearly 45 million copies. Even more surprisingly, the grossing of this soundtrack surpassed that of the film starring Kevin Costner and Whitney Houston—even though it was a theatrical success. The importance of music in a cinematographic work is such that production studios and distributors now pay particular attention to the soundtrack of trailers. Previously, they relied on already known film scores or ordered new ones. American John Beal was the first to compose songs specifically for movie trailers in the late 1970s, according to the New York Times. But this costly practice has gradually been abandoned in favor of “trailerization”.

This English term, derived from the word “trailer” (“trailer” in English), refers to a trend which consists in remixing and remastering hits from the last decades for promotional purposes. The goal: to arouse interest in a film trailer by capitalizing on the nostalgia for popular music. From Judy Garland to the Luniz group

The proof with the trailer for “The Social Network”, David Fincher’s film on the creation of Facebook. Cinephiles were able to discover a succession of images featuring Jesse Eisenberg in the skin of Mark Zuckerberg in music. But not just any since it is a revisit of “Creep” by Radiohead by Scala and Kolacny Brothers, a Belgian female choir from the city of Aarschot. This new version of the English group’s 1992 hit has contributed, in part, to the success of this trailer, which has nearly 15 million views on YouTube. “The music in this trailer is absolute perfection,” read the comments to the video.

This is enough to push many film distributors to follow the example of “The Social Network” by including in the trailers of their new releases melancholic reinterpretations, often carried by female voices, of songs on which (almost) everyone world agrees. Examples include the airy remix of Beyoncé’s “Survivor” which punctuates the trailer for “Lara Croft: Tomb Raider” (2017), or the instrumental version of Judy Garland’s “Somewhere Over the Rainbow” that we hear in that of “Godzilla II – King of the Monsters” (2019). But the “trailerized” track that has garnered the most attention in recent years is none other than the slowed-down version of Luniz’s “I Got 5 on It” that rocks the start of the trailer for “Us” (2019 ). Many Internet users agree that it brings depth to the few scenes of the horror thriller by Jordan Peele highlighted in this preview of 2 minutes and 29 seconds. “It’s one of the most brilliant soundtracks I’ve ever heard. I don’t see how it could have been more effective, honestly,” even says American producer and music critic Joey Nato.

Sanaz Lavaedian, senior vice president of music for trailer production house Mocean, agrees. “The ‘Us’ trailer” takes a song and tears it down to the bone, then rebuilds it to do what the movie needed it to do. It was pretty groundbreaking,” she told The Times.Dedicated fan communities

This trend of “trailerization” shows how much the movie trailer has evolved in the last decade. And for good reason, it is not a simple promotional medium: it is the first opportunity to see images of the film it accompanies, and therefore to create desire among spectators. We consume trailers without moderation on the Internet, and more particularly on YouTube, where new ones appear every day. Hence the importance of carefully thinking out this promotional message so that it reveals enough about the film it presents, without revealing the highlights of the plot. The music plays a key role in “hooking” the viewer and pushing them to watch the entire film when it is released in theaters or on streaming platforms like Netflix, Amazon Prime Video and Disney+. “Music is sometimes 80-90% of our creative process. It’s about trying to find the right piece that’s going to inspire and dictate the beat. [de la bande-annonce]set the tone, introduce the character and the story and hopefully make a strong impression,” Mark Woollen, founder of trailer production house Mark Woollen & Associates, told the American daily.

This special attention to trailer soundtracks has even spawned dedicated fan communities. They often meet on the Reddit community platform and on Youtube to discuss the revisits and other “trailerized” pieces that have marked them the most. Ideal for reconciling music lovers and film buffs.