For months, Gritton often won’t have anything more to cut from than storyboards, or moving sketches known as animatics, and rough audio. “The majority of the time it’s not what ends up in the film, which is why you see stuff in the trailer that you may not recognize later.” With animation, it’s even more convoluted. “We’ll pick what we think are the best takes,” Gritton says. Given the extraordinary and time-consuming process of CGI, sometimes green screens, motion capture dots on actor’s faces, maybe a cardboard cutout where a dragon will eventually go are still visible in these early cuts. Then we’ll get dailies-literally everything they’ve shot, hours and hours.” The dailies are covered in ghostly watermarks and stamped with the producer’s and house’s name for security’s sake, making them nearly unwatchable and of no real use to pirates. “Sometimes we’ll start on a trailer before they’ve even started filming,” Gritton says. Now 35, you’ve almost certainly seen Gritton’s masterworks-he helped create the trailers for many of Pixar’s recent films, including stitching together an award-winning spot for Up and the theatrical trailer for last year’s Coco. No one was happier to see me than Jeff Gritton, then a towheaded 22-year-old runner who was getting the call to move upstairs and become an assistant editor.
Sometimes Tom Cruise would ride up in a blacked-out Ford Excursion to pick at cheese plates and stand over an editor’s shoulder as she cut new versions of a Mission: Impossible III trailer. There were teams of editors and assistant editors, pacing producers and nebbish writers, graphics folks and sound engineers. Trailer Park was a buzzing hive of weird, funny, angry, often stoned people-most deeply talented-who banded together for about 20 hours a day to somehow perfectly encapsulate two-hour films into two minutes and 30 seconds (and then 60 seconds, 30, 15, whatever your wandering mind has time for). So I was tasked with driving freshly edited copies of shiny new trailers to marketing execs around L.A., an often dangerous, thankless job that technology has effectively eradicated. ( Trailer Park now stands directly across the street from the theater, a glowing motor lodge sign on top.) I had no experience and no ego-just a car. In 2005, two days after getting my undergraduate degree in film, I walked into Los Angeles’s Trailer Park, then housed in a little brick three-story building at Hollywood Boulevard and Ivar Avenue, a stone’s throw from where film legends press their palms into the concrete outside Grauman’s Chinese Theatre. The rest of the trailer contains a montage of images that range from extremely suspenseful to absolutely joyful, showing that this miniseries will be nothing short of a trip.The Battle for the Best Movie Trailer Since 1990: The Winner Is Inside Your Head The Battle for the Best Movie Trailer Since 1990 As the trailer progresses, some of the guests seem to go mad, while others want answers to the mystery of what they have gotten themselves into. Soon, they participate in a strange form of therapy where they have to lay in graves while Masha's assistant throws some dirt over them. The new trailer showcases several of the nine guests as they meet with each other and try to decide if Masha is for real or not.
#The perfect assistant movie trailer series#
The series follows Masha (Kidman), the host of a 10-day wellness retreat where the guests may be in over their heads.
In addition to Kidman, the miniseries stars Melissa McCarthy, Luke Evans, Samara Weaving, Regina Hall, Bobby Cannavale, and Michael Shannon.
Nine Perfect Strangers is produced by Blossom Films, which is Kidman's production company. Jonathan Levine directs all eight episodes, which will start to drop on Hulu beginning August 18, before concluding on September 22.
Kelley, who is responsible for HBO's Big Little Lies, as well as Ford v Ferrari co-writer John-Henry Butterworth. The limited series is created by David E. Hulu has just released the official trailer for their new miniseries, Nine Perfect Strangers, starring Nicole Kidman.
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