Trailer

Editing yesterday. A whole day for "AERODYNAMICS" trailer.

I have 2 pages of notebook notes-- my "honey" shots. Also
those soundbytes I hear for Willy, Lil' Moe, Lex, & Mayor.

Steve, the editor, & I watch various low-budget & sci-fi film
trailers for inspiration-- "The American Astronaut", "Primer",
"Sunshine", "The Signal", Series 3 trailer for "Doctor Who".
What stands out for me 1) if you're low-budget & SFX stingy,
the more mysterious your trailer...the greater the allure 2)
facial expressions/reaction shots predominate, rather than
fully played dialogue scenes.

I feel increasingly uninspired as the morning wears on. The
endcap idea I have for trailer isn't working. The pacing is
flat. None of my shots verge on spectacle. All my directing
faults glare at me, even 2 years after the fact. All the things
I should've did if only...if only...

What do I hope to gain here? All my 30's squeezed/pressed/
air-blasted for what? I see films w/ less dollars & flaire on
the festival ciruit, profiled in Filmmaker, on Netflix...yet those
are features! "AERODYNAMICS" is a mere short. A skipping
stone to full-length #2.

Oh, so this is what a blog's for. Boo-hoo me. Poor struggling
filmmaker me. Everyone feel sorry for how hard I've worked,
how I've sacrificed, how I've held on for dear filmic life.

*****************************************************

The afternoon's better. We go chronological, slowing building
up Willy & Lil' Moe relationship & the escalation of ventriloquist
act. We even use some of the flashback score for these shots.
We cap out at 1 minute mark, prepping transition into space
mission bulk of film. That stuff will work. It's just amazing that
the footage we were struggling with was the most vital,
emotional elements of the film. Again, I question my own internal
meter-- as a director, shouldn't that have been the most
obvious dynamics for me? the most fore-fronted?