Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: I celebrate all levels of trailers and hopefully this column will satisfactorily give you a baseline of what beta wave I’m operating on, because what better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? Some of the best authors will tell you that writing a short story is a lot harder than writing a long one, that you have to weigh every sentence. What better medium to see how this theory plays itself out beyond that than with movie trailers?

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Editor’s Note: Filmmaker Jake Scott has been blogging his Sundance experience on /Film. You might not know 42-year-old director Jake Scott yet, but you will. You definitely know his father Ridley, the filmmaker behind such films as Alien, Gladiator, and Blade Runner (Jake worked in the editing room during the school holidays). Chances are, you’ve probably never seen Jake’s directorial debut was a 1999 British historical action comedy titled Plunkett & Macleane. He’s directed iconic music videos for REM’s Everybody Hurts, Radiohead’s Fake Plastic Trees, The Cranberries’ When You’re Gone, as well as videos for Soundgarden, The Smashing Pumpkins, Live, Blind Melon, Tori Amos, Lily Allen, The Strokes, The Verve, and U2. Jake’s second feature film, Welcome to the Rileys premiered in Sundance’s US Dramatic competition. The story follows a damaged man on a business trip to New Orleans who is seeking salvation by caring for a wayward young woman. The movie stars James Gandolfini, Kristen Stewart, and Melissa Leo.

You can read Jake’s first blog post herehis second blog here, and his third blog post, after the jump.
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More news from the frontier

Things have chilled down a bit after a MASSIVE Wednesday night. We had the filmmakers dinner where you could meet all the other producers and directors.

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