0.01secs - sound boom to start the opening shot of the city skyline (London). Typical way to start many crime/thriller trailers as it instantly places you into the action of the film. Juxtaposed well with the blue/neon lights on screen as it creates this sense of danger/crime but also gives the film a glossy look. We know instantly that the budget of the film is fairly high due to the slick, well controlled lighting and sound boom followed by the non-diegetic sirens over the top of the city landscape (similar to Hummingbird).
0.03secs - (Foley) constant ticking sound, which is used to great effect in this trailer as it creates tension amongst the audience, which is essential for a crime/thriller trailer and so the 'WTTP' trailer is adhering to the desired genre. It works in conjunction with the action on screen as it is suggesting that some sort of 'deal' is going to take place and that time is an issue. The ticking noise keeps the audience guessing as to what is going to happen next and is something we would like to use in our trailer in order to enhance the overall quality.
0.05secs - The ticking noise is also used alongside a sci-fi style soundtrack that increases in volume whenever we begin to see more action on screen. The sci-fi noise works particularly well with the close up of the 'bad guy' wearing a compromising mask and carrying a bag, which is clearly something illegal. It also keeps the tension and sense of danger in the scene extremely well as we are unsure of who the 'bad' characters are and what they are about to do.
Sci-Fi soundtrack - high cord increasing in volume.
0.07secs - Voice over used at the start of the trailer over the top of action. We would like to play with the idea of using both visual and non-visual verbal sound in our trailer in order to create differing effects. I particularly like the use of voice over in this part of the trailer as it works well in conjunction with the shots on screen of the 'bad guy' walking towards the camera and the quick shots of Mcavoy fighting.
0.24secs - Fog horn noise used to open Act 2 after 'momentum pictures'. Adheres to the crime/thriller genre and has an epic, almost blockbuster feel to it, which is something we are interested in. We would like to use a mixture of different foley sounds, such as the fog horn to create the desired tension we would like to create in our trailer. (fog horn noise is almost brooding over the other sound involved)
0.40secs/throughout - Soundtrack - gives the trailer a certain flow and makes the trailer feel instantly more epic when watching it. The soundtrack gives the trailer a certain rhythm throughout that links every shot/scene change together. Also allows for the flow of the trailer to run smoothly whilst creating a tense and even powerful atmosphere.
Hummingbird:
0.02secs - already a sound boom to open the trailer, followed by contrapuntal/asynchronous sounds of police car sirens against the opening image of the city and Soho 'backstreets' - the sound boom is used throughout most, if not all crime/thriller trailers and so we will want to use it as well. The use of asynchronous sound is also extremely effective here and we will want to create a similar effect.
0.10secs - sounds of an alarm going off - adhere to the crime/thriller genre and keep the audience on the edge of their seat, which is a desired effect especially at the early moments of a trailer like this. We would like to play around with non-diegetic sound, such as alarm sounds and other 'tension-building' Foley sounds to create different effects at different moments throughout our trailer.
0.15secs - a form of soundtrack begins (the sound of the ticking clock over the top of running music that adheres to the thriller/crime genre). The ticking clock is extremely effective as it not only follows the storyline of Statham's character running out of time as he is trying to escape from the 'bad guys' but also creates suspense, which is the desired effect at this moment in the trailer. We would again like to create something similar and hopefully our music producer, after watching our finished trailer will be able to fit an interesting, yet suspenseful piece of music over the top.
0.21secs - They employ an almost sci-fi style sound boom throughout the trailer at certain moments of tension/suspense. These are extremely effective despite being asynchronous to the images displayed on the screen. This is again, a good use of -non-diegetic sound to create suspense amongst the audience, which is something we would like to recreate.
0.32secs - voice of a man on the phone being played over the top of Statham's characters making himself 'at home' in someone else's house. This is useful as it suggests a lot about the storyline and keeps the audience up to date with what is happening thus far in the trailer.
0.40secs - first bit of 'real' dialogue between Statham's character and the 'love interest' in the film. I particularly like the way they waited 40 seconds before any conversations emerge amongst certain characters in the film/trailer.
0.44secs - Sci-Fi style soundtrack begins at this point after Statham's character says, 'I need to get my life back together' - this suggests that there will be a series of shots representing his character improving the quality of his life. However, the crime/thriller nature of the soundtrack, with the eerie sound booms and the fast flowing pace of the music suggests that Statham is going to take advantage of 'crime' in order to 'get his life back together'. This is an excellent example of how the soundtrack can parallel the storyline, running throughout the trailer and has been an influence to us when thinking about the sound in our film.
1.05secs - sound booms (brooding orchestral noise) used throughout especially during the fight/chase scenes but used as well during the moments, where crime is being shown on camera as seen in the image below where a 'trade-off' of some sort is taking place. We would like to use these traditional thriller foley sounds and add them to our trailer in order to not only adhere to the genre of our film but also to create suspense throughout.
Throughout - soundtrack is used especially during the montage towards the end of the trailer and is 'mixed' together with foley sounds to create tension. Dramatic singing is used to highlight the storyline. Brooding orchestral music is something we will want our producer to make over the top of our trailer, especially during the montage scene and is something we will have to use in order to properly adhere to the thriller/crime genre. However, we will definitely want to our producer to add his own twist on the soundtrack and so will give him some artistic license to experiment with the trailer.
MT
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