Re-blogged from Sergei's posterous: Beautifully shot, sensitively told story of a woman with nothing but cold hard emptiness inside.
Watched WALL*E today (see Garry's post). Two weeks late, I know. But it was good. wwwwaaaaaallllleeeeeeeee!Anyway, wanted to note: I am officially a sap. The trailer for The Perfect Game had me blubbering like an idiot and welling up with tears. I don't know why.
I've been getting a few naysayers who hate trailers because of how much they reveal. While a trailer that reveals too much is probably poorly cut, I, like Pooja, maintain that the story told by the trailer is pretty much independent of the movie, so it almost doesn't matter what the trailer shows. I love that they are miniature movies in their own right, that they have their own structure (intro/beginning, exposition, rising action, climax, resolution/suggestion), and yes, they keep you wanting more.
Case in point: a few years ago there was a contest among students of film editing, and the task was to take a popular film and recut a trailer for it that would make the movie look like it belonged in a totally different genre. The best of the bunch was this, The Shining, recut.
Now it's got a bunch of copycats on YouTube, but this was the original. Total genius.
I'm not the best with timeliness when it comes to blog posting. So expect me to dredge up a lot of stuff I've been interested in for a long long time. This is not of-the-moment stuff.
Anyway, I used my google search prowess to find the songs used: "Consequence" by The Notwist, "First Breath After Coma" by Explosions in the Sky, and "The Sound of Settling" by Death Cab For Cutie. I'm including the first two mp3s for your listening pleasure =)
And then, after thinking more about it, I realized the music really shaped my perception of the trailer (hah, what's new, right?). One of my pet peeves is when a trailer editor uses a song in the trailer that is nowhere to be found on the movie's actual soundtrack. That's another blog post in itself.