I’m a child of the 20th century, so the electric guitar, an instrument with a vast range of expressive potential, is the voice of my life. Whether it’s the simple, rhythmic lines of John Lee Hooker or the dense, almost formless drones of Sunn O))), the guitar is the thing. So It Might Get Loud, the documentary that explores the history of the electric guitar through interviews with and performances by Jimmy Page, Jack White and The Edge, is something I very much want to see. In August, Sony Pictures Classics will oblige. For now, there’s a trailer. Read More »
I think the consensus is that movie trailers and movie title sequences used to be better – just look at the back catalogue of Alfred Hitchcock for numerous sterling examples of each, all from the oeuvre of just one director. Lately, it might be argued that title sequences have had something of a renaissance, with the work of Kyle Cooper and Imaginary Forces, but much of the great stuff has been pushed to the end of the film, as the credits roll. Witness the Pixar films, such as The Incredibles and Ratatouille and their atmospheric and engrossing final scrolls.
Of Pixar films, in fact, I recall only Monsters Inc. really having a really solid title sequence up front – but it isn’t a sequence I’m going to forget in a hurry. In fact, some of my most vivid sense memories of that film, and of how exciting, charming and awe inspiring I found it, are all tied up in my recollection of the title sequence.
Trailers, however – though not without exception – still tend to be rather formulaic affairs.
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