In the film industry, trailers play an unprecedented role in marketing, awards campaigns, and even editing and development. I said, ‘I have to see what this is.’ For me, the best part of going to the movies was always the trailers.” “I’ll never forget when I was watching a movie in the theater, and got up to go to the bathroom, and then the trailer for The M atrix Revolutions came on,” he says. With a strong affinity for music and sound design and a well-honed instinct for visual drama, Finkelstein works according to one long-held belief: there’s no better entertainment than a great trailer. He’s cut trailers for a range of films, from the Disney animated feature Brave to the much-anticipated Wonder Woman, racking up accolades along the way for his chilling, madness-tinged cuts for Mad Max: Fury Road and Stranger Things, the Netflix science-fiction series. “You have 5 to 10 seconds to get people very, very interested, or you’re gonna lose them,” Finkelstein says.Īfter eight years at Trailer Park, where he started as an intern in his final semester at the College of Communication, Finkelstein has become an expert in wringing the most from those seconds. And with a maximum of 2 minutes and 30 seconds to introduce characters, highlight key plot points, and hint at the drama and action to come, there isn’t a moment to spare in his effort to create the most compelling movie trailers in the business. That’s the goal for Adam Finkelstein (COM’09), an editor and a producer at the Los Angeles movie-trailer production studio Trailer Park: no looking away once his preview hits the big screen. No more than 15 seconds has passed, but looking away is no longer an option. Then a voice comes in with an ominous message. A siren’s wail follows, or an eerie xylophone.
It starts with a sound: footsteps on a metal staircase, or the choke of an engine.
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