Thursday, 23 June 2011
Sex and the City 2, teaser trailer, 0:32
The trailer begins with some logos for media institutions that are involved in the productions, distribution and exhibition of the movie, these are brought in with a flying in sound. They are lined up in the middle of the screen for a more presentable effect, and are coloured in the scheme of silver and white which is being used for the movie, to establish it and make it recognisable. The silver logos and text glitter and sparkle like diamonds, creating a feminine and wealthy image, giving away themes and elements of the film, which is set in New York and is about four wealthy, fashion conscious women. (This is previously established to an audience, who have seen the television show before the movies. If not other audiences will know the genre of the movie and TV show, and will have some awareness of its earlier existence). The target audience for this movie are very aware of what the movie will contain and what they are expecting from the movie and trailer.
The music begins with a strong baseline drumbeat, which takes appropriate pauses to create effect from the lines that the characters speak. There is then the first shot of the trailer, showing a male character, dressed in a black suit, looking into the mirror, the camera lets the audience see the actors face in the mirror rather than just the back of his head, therefore the camera shot is at an angle so we can see him in the mirror and his real body, without the camera or crew being seen in the mirror. The shot shows the man straightening his bow tie and establishes the character, as many of the original audience will know, this character is Mr. Big, the main protagonist, Carrie Bradshaw’s husband. A pause in the music comes when Big states: “Wow” when he sees Carrie. The next shot then shows, the main protagonist, Carrie, on the other side of the room, wearing the same suit. This incorporates the comedic element of the themes of this film. The shot then changes to another angled shot of Mr. Big looking in the mirror, but from the other side and Carrie’s perspective. He looks in the mirror to the camera, making it more obvious that the camera is acting as Carrie’s POV, rather than Mr. Big talking to the camera he is talking to ‘her’.
A title then appears on the screen, with the silver and white theme, with a white background and a silver text coming in from the camera and getting smaller as it is stamped on. It tells you the date that the film is coming out, giving the audience the first bit of vital information, on its own so they have a chance to take it in. It then shows another scene from the movie with the four main characters being shown sitting at a table talking together, all wearing bright and colourful clothes, drawing attention to their fashion consciousness. It is also to draw attention to them in the frame, and all of the known characters are dressed in bright colours to get them noticed, whereas any extras or unknown persons are in greys, whites and blacks. Even the kids of the characters are dressed brightly to show their significance.
The change of scene is literally ‘flown in’ by an aeroplane with a whooshing sound and the aeroplane wipes one scene from the screen and brings in another, a high angle shot of four white cars driving up to a large building. As the camera pans up to the building, a camera flash effect is added, to make it look more glamorous and of importance, or the flash could be taken to be like a sparkle from a diamond, again inferring wealth and the finer things. The next shot is of the four girls, and the music takes a pause for Carrie’s line as they enter. The girls are again dressed brightly and fashionably, always drawing attention to their clothing, as they walk into the building. There is then another title with the silver and white theme saying ‘More fun’. This is then illustrated in the next shot of about a dozen men in a swimming pool, each showing their muscles and cheering. The shot after this shows Miranda imitating them and doing a call and response of this action. There is then a shot of Carrie laughing at this.
The next title states ‘More sex’ with a crash of cymbals and the shot following this is of a tanned and muscled man taking off a pair of sunglasses and looking down on Kim Catrall’s character, Samantha, who is gazing up at him longingly. This amuses the already current audience as they know this character for her sexuality mostly, and she can be seen as a comic character. The next shot is a low angle of Carrie and Samantha on a camel together, having a short conversation which the music stops for also.
The next title states: ‘More surprises’. The scene shown here is of Carrie and Miranda in a small market, showing its exclusivity and it’s quietness, with just a few Arab men in the background. The next shot is a long shot of the girls riding on camels, and the one after that is of lots of belly dancers in a club in bright coloured costumes. The lighting is coloured and misty to make them brighter in the dark room. There is then a quick shot of Carrie walking on the beach and then another shot of All four girls walking together in the desert. The next shot then refers back to the quiet market, and the two girls Carrie and Miranda turning in shock, and a quick blackout with a lack of music, at which point we get a close up shot of Aiden’s face, which is an element made for the current audience who already know who he is and know the storyline to know that this is a big surprise. There are also heartbeat sounds to accompany this moment. The next shot is of Charlotte screaming ‘Oh my god’ excitedly, acting as the audience’s voice and empathising with their emotion from this revelation.
The next title shows the actual title of the movie, which is in the silver and white theme and had a big sparkly ‘2’ in the middle of the screen with a diamond like effect in it. The main title is then dropped in on top of the ‘2’ in gold saying ‘sex and the city’ and the titles rotate on the screen. There is then a shot of Charlotte’s daughter and her, showing the time alterations between this movie and the last one. This is a helpful device by showing the child aging, therefore giving the audience an idea of how much time has passed in the fictional world. For this scene the pace of the music fades out, and the conversation between the child and Carrie takes prominence.
There is finally one more low angle shot of the girls on camels and then the final title of ‘may 27th’ and all of the logos and information like the website and Warner bros. Studios logos on it.
Tuesday, 21 June 2011
Love Actually, teaser trailer, 0:32.
The beginning of this teaser trailer starts with a quick shot of Hugh Grant playing the prime minister and saying a couple of words before the music (‘All I want for Christmas’ By Mariah Carey) begins and the trailer flashes to two institutional references; the first being the logo of the production company, Universal Studios. The second is the logo of Studio Canal. There is a voice over explaining the situation of the film and the time that it is set. The screen then flashes to a low angle shot of a large Christmas tree in a shopping mall, establishing a theme of the movie and the time of setting being Christmas time. It also establishes this as a Christmas movie, released around this time also – so it gives the audience alot of clues to vital information through this use of the quick shot of the tree.
There is then also a shot of a temporary ice rink in the grounds of a large building, with the Christmas tree in the centre of the shot. This then fades to the image of Rowan Atkinson acknowledging an unseen character; this is a device for also establishing cast members in the film, with well known actors being featured in the trailer to capture the audience.
There is then a medium shot of two characters sitting together with presents surrounding them, while they talk wearing Santa hats. This also continues with the Christmas theme. There is then a shot of an actor jumping for joy off some steps up to a house, showing a comedic element to the movie, also establishing another theme. This then changes to a shot in a darkened room with only a bit of source lighting coming from a desk lamp, establishing a workplace, but also two people working together late at night beyond office hours, this already puts a sense of suspicions into the audiences minds as they watch this unravel. The shot is of a man walking towards the camera (who may be considered ‘eye-candy’ for the female audience, from his physical appearance), the shot then changes to the other person that he is looking past to camera to – we look from his perspective, over a computer screen to see Laura Linney’s face – this establishes another well known actor and also that she is the same woman from the scene before with all the presents. This moment from a scene shows an awkward acknowledgment between the two characters and hints at sexual tension between the two – highlighting a love theme of the film. The next shot then shows the man walking out of shot and away, showing their awkwardness of being in a room together even more so. The next shot is of Laura Linney getting annoyed as he leaves, obviously showing her exasperation and annoyance at herself for not saying anything to the man, this confirms some of our suspicions of their sexual tension.
Another scene is then shown of Alan Rickman (again, another famous British actor, which sets this movie to be a very British film with a well known ensemble cast) talking to Laura Linney and asking her how long she has loved the man – finally telling us for sure that she loves him. This scene is minus the voiceover so that the audience can concentrate on this scene. The theme of love is then continued and the audience begin to realise that this film will not just be about one love story or one element of love in it. The music then continues without the voiceover or vocals from the actors, and the next shot is of two people kissing in a dark street – also showing the significance of night. This shot focuses on the couple kissing, with the background of the empty street faded out, with blurry coloured Christmas lights in the right of the frame. There are also blurred white lights on the left of the screen. The audience can also establish these two actors quickly as well, at least definitely the woman who is the very well known British actress Keira Knightley.
This scene then quickly flashes to another scene of a couple kissing after a few seconds – with the male and female switched places to also establish the new couple kissing who are different to the last ones the other setting which is also blurred is also significant as it is so different, it looks to be daytime in a kitchen. The next shot is then of a small girl singing on a stage, showing a band and backing singers surrounding her – showing her importance, it almost gives the impression that the audience are looking at her from the perspective of someone who is in love with this girl and she is the focus of someone else’s attention as she stands in centre frame, with people surrounding her, a spotlight on her, and her clothing standing out more than the other people in the shot. There is also a high angle shot of some children dancing on the spot and getting excited, with bright coloured clothing and a warm orange coloured wall in the room they are in. This scene with the children shows them looking up to a character in the spot where the camera is placed. Are we replacing an adult that they are looking at? (hence the high angle shot from their perspective).
There is then a shot of the two characters we had already established as to having sexual tension and an unease around each other. This shot shows them running into each other’s arms in a bright white more homely environment, they share a passionate kiss – showing them getting their happy ending? There is then a shot of them in another room of the house, with them on separate sides of a wall as Linney secretly celebrates, and the man braces himself and prepares himself. The voiceover returns at this point to finish the sentiment that it is trying to get across with the trailer. There is then a new shot of the man we had previously seen to be kissing Keira Knightley holding up placards with messages on them as she watches him, and the camera is positioned in an over the shoulder shot near her. The shot then changes to his POV and shows Keira smiling and beaming at him. But the audience wonders what the placards are for, is it just a romantic gesture, or do they have to be secretive as she stands at her front door in her house and he is left outside.
We then see a shot with another new character, this time we see Liam Neeson, bending down to speak to a young boy in a crowded room with people walking around them and past the camera constantly, but with only these two characters in focus – showing their significance. The next shot then shows the camera panning round to see the little boy looking through a window and pressed up to it. Then, from his POV, we see the girl who was performing earlier in the trailer, and we know that she is the focus of his affection, as again she stands in centre frame, with the person in the background out of focus and blurred as the girl waves to the young boy, also showing the theme of love, and love being in different cases with different people. We then see a shot of a man outside on a sunny day in what looks like a foreign country, again, this shot is not in deep focus, so we are drawn to look at the character.
We can then see that the actor is Colin Firth, Yet another famous British actor, showing the theme of the British cinema and a quintessentially British film. As he runs toward the camera, the scene changes to a shot of Hugh Grant also running toward the camera down a set of stairs, in a very posh and stately looking hallway. He is also dressed in a suit, showing his importance, in contrast with Colin Firth, who was dressed in an old green jacket in a very sparse bit of countryside that doesn’t look particularly English. There is then a few shot of Keira Knightley and her man again, as she runs down the quiet street with the Christmas lights to catch up with him, as she reaches him the shot changes to a title ‘Love Actually’, the logo of the film with the red colouring for the ‘love’ part of the text. It then also has images of the actors/characters running across the top and bottom of the screen around this title, here we see more actors that we also did not see in the trailer. Another shot of Keira Knightley is shown as she opens the door to the camera. Then the shot changes again to another character to contrast between the scenes, and the characters differences, the same sentiment is then used again as Martine McCutcheon opens a door to the camera also. There is then a series of shots of the characters who are standing on the other side of the door. The song finishes with the prolonged ‘You’ as it flashes to each of the characters at the doors. There is then a final shot of Keira Knightley’s reaction, with logos, policies and information being shown along the bottom of the screen, depicting the production and distribution companies and the website and information for the film.
There is then also a shot of a temporary ice rink in the grounds of a large building, with the Christmas tree in the centre of the shot. This then fades to the image of Rowan Atkinson acknowledging an unseen character; this is a device for also establishing cast members in the film, with well known actors being featured in the trailer to capture the audience.
There is then a medium shot of two characters sitting together with presents surrounding them, while they talk wearing Santa hats. This also continues with the Christmas theme. There is then a shot of an actor jumping for joy off some steps up to a house, showing a comedic element to the movie, also establishing another theme. This then changes to a shot in a darkened room with only a bit of source lighting coming from a desk lamp, establishing a workplace, but also two people working together late at night beyond office hours, this already puts a sense of suspicions into the audiences minds as they watch this unravel. The shot is of a man walking towards the camera (who may be considered ‘eye-candy’ for the female audience, from his physical appearance), the shot then changes to the other person that he is looking past to camera to – we look from his perspective, over a computer screen to see Laura Linney’s face – this establishes another well known actor and also that she is the same woman from the scene before with all the presents. This moment from a scene shows an awkward acknowledgment between the two characters and hints at sexual tension between the two – highlighting a love theme of the film. The next shot then shows the man walking out of shot and away, showing their awkwardness of being in a room together even more so. The next shot is of Laura Linney getting annoyed as he leaves, obviously showing her exasperation and annoyance at herself for not saying anything to the man, this confirms some of our suspicions of their sexual tension.
Another scene is then shown of Alan Rickman (again, another famous British actor, which sets this movie to be a very British film with a well known ensemble cast) talking to Laura Linney and asking her how long she has loved the man – finally telling us for sure that she loves him. This scene is minus the voiceover so that the audience can concentrate on this scene. The theme of love is then continued and the audience begin to realise that this film will not just be about one love story or one element of love in it. The music then continues without the voiceover or vocals from the actors, and the next shot is of two people kissing in a dark street – also showing the significance of night. This shot focuses on the couple kissing, with the background of the empty street faded out, with blurry coloured Christmas lights in the right of the frame. There are also blurred white lights on the left of the screen. The audience can also establish these two actors quickly as well, at least definitely the woman who is the very well known British actress Keira Knightley.
This scene then quickly flashes to another scene of a couple kissing after a few seconds – with the male and female switched places to also establish the new couple kissing who are different to the last ones the other setting which is also blurred is also significant as it is so different, it looks to be daytime in a kitchen. The next shot is then of a small girl singing on a stage, showing a band and backing singers surrounding her – showing her importance, it almost gives the impression that the audience are looking at her from the perspective of someone who is in love with this girl and she is the focus of someone else’s attention as she stands in centre frame, with people surrounding her, a spotlight on her, and her clothing standing out more than the other people in the shot. There is also a high angle shot of some children dancing on the spot and getting excited, with bright coloured clothing and a warm orange coloured wall in the room they are in. This scene with the children shows them looking up to a character in the spot where the camera is placed. Are we replacing an adult that they are looking at? (hence the high angle shot from their perspective).
There is then a shot of the two characters we had already established as to having sexual tension and an unease around each other. This shot shows them running into each other’s arms in a bright white more homely environment, they share a passionate kiss – showing them getting their happy ending? There is then a shot of them in another room of the house, with them on separate sides of a wall as Linney secretly celebrates, and the man braces himself and prepares himself. The voiceover returns at this point to finish the sentiment that it is trying to get across with the trailer. There is then a new shot of the man we had previously seen to be kissing Keira Knightley holding up placards with messages on them as she watches him, and the camera is positioned in an over the shoulder shot near her. The shot then changes to his POV and shows Keira smiling and beaming at him. But the audience wonders what the placards are for, is it just a romantic gesture, or do they have to be secretive as she stands at her front door in her house and he is left outside.
We then see a shot with another new character, this time we see Liam Neeson, bending down to speak to a young boy in a crowded room with people walking around them and past the camera constantly, but with only these two characters in focus – showing their significance. The next shot then shows the camera panning round to see the little boy looking through a window and pressed up to it. Then, from his POV, we see the girl who was performing earlier in the trailer, and we know that she is the focus of his affection, as again she stands in centre frame, with the person in the background out of focus and blurred as the girl waves to the young boy, also showing the theme of love, and love being in different cases with different people. We then see a shot of a man outside on a sunny day in what looks like a foreign country, again, this shot is not in deep focus, so we are drawn to look at the character.
We can then see that the actor is Colin Firth, Yet another famous British actor, showing the theme of the British cinema and a quintessentially British film. As he runs toward the camera, the scene changes to a shot of Hugh Grant also running toward the camera down a set of stairs, in a very posh and stately looking hallway. He is also dressed in a suit, showing his importance, in contrast with Colin Firth, who was dressed in an old green jacket in a very sparse bit of countryside that doesn’t look particularly English. There is then a few shot of Keira Knightley and her man again, as she runs down the quiet street with the Christmas lights to catch up with him, as she reaches him the shot changes to a title ‘Love Actually’, the logo of the film with the red colouring for the ‘love’ part of the text. It then also has images of the actors/characters running across the top and bottom of the screen around this title, here we see more actors that we also did not see in the trailer. Another shot of Keira Knightley is shown as she opens the door to the camera. Then the shot changes again to another character to contrast between the scenes, and the characters differences, the same sentiment is then used again as Martine McCutcheon opens a door to the camera also. There is then a series of shots of the characters who are standing on the other side of the door. The song finishes with the prolonged ‘You’ as it flashes to each of the characters at the doors. There is then a final shot of Keira Knightley’s reaction, with logos, policies and information being shown along the bottom of the screen, depicting the production and distribution companies and the website and information for the film.
Friday, 17 June 2011
Tuesday, 14 June 2011
Kill Bill Volume 2, teaser trailer, 0:57.
The teaser trailer begins with the conventional green screen of information that presents an American trailer for a film, which discloses who the trailer is suitable for. The trailer then begins with two seconds of a black screen to create atmosphere. It then cuts straight to a shot looking from the back of a car through the windscreen and onto the woman driving. There is the thump of a drum with this quick cut, and then continuing drum beats. The space between the seats of the car and the windscreen are in deep focus, whereas the projection on the green screen of the road is out of focus and flat. It is also made to look quite old with the black and white colouring and the flat projection of the road and it looks quite 1940’s, whereas we now have the technology to shoot this scene for real, the impression is given that she is not actually driving. The samurai sword is brightly shining in the car to draw attention to its presence as a trademark of the film. The car is also vintage to bright significance to this element of the scene. The characters hair is blowing in the ‘wind’ - which is created artificially – to represent her driving in the convertible and almost having that carefree attitude.
The shot then fades out and the institutionalized logo of ‘Miramax films’ is brought on screen with another coinciding drumbeat and zooms in as well as fading in the word ‘films’. This then fades out with the beginning piano chords to the song ‘A silhouette of doom’ by Ennio Morricone, a famous composer for Western genre films. In fades a new shot of the character and the final chord of the melody to create significance. The character is now revealed as the main protagonist, Beatrix Kiddo. The shot is from the front – a camera shot from the bonnet of the car looking into the windscreen to where Beatrix is sitting. The black and white colouring and fades green screen background is still in effect. In this short scene the camera zooms into Beatrix Kiddo directly addressing the audience and breaking the fourth wall by describing to them exactly what she has accomplished and what she is looking to do in the future – she updates the audience on the story so far (with this film being the sequel or ‘second half’ of the first film.)
There is then a title, designed in the trademark Kill Bill colourings of black writing and a yellow background, with almost black rip in the yellow down the side of the title screen. The music then continues with new segments and progressions of the track. There is also the added sound effect of a samurai sword moving through the air. The titles ‘The new film from Quentin Tarantino’ are then stamped in and come from in front of the audience. It then cuts back to Beatrix explaining more of her story in the car, with the exact same shot as before, but with a different background on the projection to represent her travelling, moving and progressing. She then directly references to this being a movie, again breaking the fourth wall but to extremes as she refers to how she went on “What the movie advertisements referred to as a ‘roaring rampage of revenge’” After this statement, the music is then accentuated again as four drum beats cut in. The yellow and black titles return with the a cast title of ‘Uma Thurman’ with two black rips in the bottom left hand corner and the top right hand corner. The title for her name is flashed in from the top left hand side and pressed in from the front.
We flick back again to Beatrix Kiddo talking of how the movie advertisements statements were correct and she “got bloody satisfaction”. The music takes a different turn after this and becomes thicker with more homophonic sounds and string instruments. A title quickly flashes back in, again with a rip along the right hand side showing information rather than credits. It states ‘This Spring’ – giving a time schedule for the film and more information for the audience to take in, and anticipation of the time until this new film. There is then a coloured close up shot of David Carradine (Bill) Who is talking down to a character, who is then revealed to be his younger brother, Budd, in the next shot, who is sat down (perhaps on the floor) making use of levels and high and low camera angle shots, and the use of levels to portray status’ between characters. It then flicks back to Bill’s reply to Budd. Bill is describing the Bride to Budd and also giving an outsiders perspective of the Bride – showing the audience what their perception of her may be.
There is then another title with a tagline which has a black rip down the left hand side of the screen this time, saying: ‘It’s not over’ which is then stamped over with the sound effect of a samurai sword and then replaced by the text in a larger font saying: ‘Til it’s over’ which comes in with a loud sound like an aeroplane taking off or a car driving past. We then get brought back to an ECU of Beatrix Kiddo sharing her final words of the trailer in her trademark black and white scene again, to separate her from the other shots of Bill and Budd. The music climaxes and grows to its highest point, before cutting out promptly as another title comes on screen with black rips along the top and bottom of the screen, with ‘Volume 2’ in text to explain that it is more the second half of the first film and has relevance to it, and explain the situation more to the audience.
We flashback to Beatrix Kiddo’s scene, with a sped up zoom into her face, which has an angry expression painted onto it, to show how the ‘revenge’ will be continued, and the music continues with its previous melody from the beginning. Beatrix’s face then changes to her giving a quick wink and an evil half smile, with a look of mischief on her face. Along with the wink there is a ‘ding’ sound like a triangle being hit, emphasising it and making her look slicker, slyer and more mischievous.
There are then the final titles in the yellow and black theme, which state ‘Spring 2004’ as this is brought in, it rotates along to the sound of the drumbeat and has institution references along the bottom of the screen with details of production and distribution companies and the website for the film for the audience to acquire more information. There is one final drumbeat and the screen is then left black for a few more seconds to allow the audience to take all of this in and reflect on the trailer they have just seen for a few seconds, to make sure they remember it and take significance.
The shot then fades out and the institutionalized logo of ‘Miramax films’ is brought on screen with another coinciding drumbeat and zooms in as well as fading in the word ‘films’. This then fades out with the beginning piano chords to the song ‘A silhouette of doom’ by Ennio Morricone, a famous composer for Western genre films. In fades a new shot of the character and the final chord of the melody to create significance. The character is now revealed as the main protagonist, Beatrix Kiddo. The shot is from the front – a camera shot from the bonnet of the car looking into the windscreen to where Beatrix is sitting. The black and white colouring and fades green screen background is still in effect. In this short scene the camera zooms into Beatrix Kiddo directly addressing the audience and breaking the fourth wall by describing to them exactly what she has accomplished and what she is looking to do in the future – she updates the audience on the story so far (with this film being the sequel or ‘second half’ of the first film.)
There is then a title, designed in the trademark Kill Bill colourings of black writing and a yellow background, with almost black rip in the yellow down the side of the title screen. The music then continues with new segments and progressions of the track. There is also the added sound effect of a samurai sword moving through the air. The titles ‘The new film from Quentin Tarantino’ are then stamped in and come from in front of the audience. It then cuts back to Beatrix explaining more of her story in the car, with the exact same shot as before, but with a different background on the projection to represent her travelling, moving and progressing. She then directly references to this being a movie, again breaking the fourth wall but to extremes as she refers to how she went on “What the movie advertisements referred to as a ‘roaring rampage of revenge’” After this statement, the music is then accentuated again as four drum beats cut in. The yellow and black titles return with the a cast title of ‘Uma Thurman’ with two black rips in the bottom left hand corner and the top right hand corner. The title for her name is flashed in from the top left hand side and pressed in from the front.
We flick back again to Beatrix Kiddo talking of how the movie advertisements statements were correct and she “got bloody satisfaction”. The music takes a different turn after this and becomes thicker with more homophonic sounds and string instruments. A title quickly flashes back in, again with a rip along the right hand side showing information rather than credits. It states ‘This Spring’ – giving a time schedule for the film and more information for the audience to take in, and anticipation of the time until this new film. There is then a coloured close up shot of David Carradine (Bill) Who is talking down to a character, who is then revealed to be his younger brother, Budd, in the next shot, who is sat down (perhaps on the floor) making use of levels and high and low camera angle shots, and the use of levels to portray status’ between characters. It then flicks back to Bill’s reply to Budd. Bill is describing the Bride to Budd and also giving an outsiders perspective of the Bride – showing the audience what their perception of her may be.
There is then another title with a tagline which has a black rip down the left hand side of the screen this time, saying: ‘It’s not over’ which is then stamped over with the sound effect of a samurai sword and then replaced by the text in a larger font saying: ‘Til it’s over’ which comes in with a loud sound like an aeroplane taking off or a car driving past. We then get brought back to an ECU of Beatrix Kiddo sharing her final words of the trailer in her trademark black and white scene again, to separate her from the other shots of Bill and Budd. The music climaxes and grows to its highest point, before cutting out promptly as another title comes on screen with black rips along the top and bottom of the screen, with ‘Volume 2’ in text to explain that it is more the second half of the first film and has relevance to it, and explain the situation more to the audience.
We flashback to Beatrix Kiddo’s scene, with a sped up zoom into her face, which has an angry expression painted onto it, to show how the ‘revenge’ will be continued, and the music continues with its previous melody from the beginning. Beatrix’s face then changes to her giving a quick wink and an evil half smile, with a look of mischief on her face. Along with the wink there is a ‘ding’ sound like a triangle being hit, emphasising it and making her look slicker, slyer and more mischievous.
There are then the final titles in the yellow and black theme, which state ‘Spring 2004’ as this is brought in, it rotates along to the sound of the drumbeat and has institution references along the bottom of the screen with details of production and distribution companies and the website for the film for the audience to acquire more information. There is one final drumbeat and the screen is then left black for a few more seconds to allow the audience to take all of this in and reflect on the trailer they have just seen for a few seconds, to make sure they remember it and take significance.
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