Crazy, Stupid, Love (2011) Trailer Analysis http://www.youtube.com/watch?

v=8iCwtxJejik The trailer opens with a studio ident; this adds a feel of professionalism and could reflect the particular genre/target audience of the production. In concern to the said trailer that I am analysing, the ident shown is of the TimeWarner subsidiary Warner Bros. Pictures. Being a typical convention of trailers, an ident would be something to consider including within my future A2 project. Over the ident, a non diagetic voice over begins of a female. This follows through to the proceeding clip, thus, resulting in a sound bridge edit. The ident then cuts to a two shot of a middle-aged male and female within a car. The lighting is low key, emphasizing the time of day and suggesting the previous situation to add context. The source of the voice over is revealed, as the footage captures the female addressing the male; the male is out of focus, causing the viewers attention to fall onto the speaker. The effect of the lighting within this clip means that the background is irrelevant whereas the female is of importance the low key lighting results in illumination of the womans face. This cut proceeds to a reaction shot of the male to the females words; she is confessing to having cheated on him, and through this the viewer gains knowledge of the relationship between the two characters introduced marital. The expression shown on the males face is that of upset, heightened by his speechless reaction (shown through his lack in replying). A non diagetic soundtrack of piano music is cut in over this particular shot, using a light-hearted beat which contrasts with the dramatic narrative; the genre of the film is romantic comedy, so this contrast conforms to the conventions. The viewer also acknowledges Steve Carell's role; it is a convention of trailers to utilize the star system, and Carell is a well known comedy actor. The close up cuts to a two shot of the characters beside one another as the male proceeds to fall out of the car in shock to the females confession - his action is emphasised by tilting of the camera. This again adds humour which is expected of such a genre, and the clip cuts to a long shot as the car comes to a stop, with the female shouting 'Oh my god, Cal!' - again adding a comedic touch, but also introducing the potential protagonists name. A wipe transition then transfers the scene, along with continuation of the soundtrack. We see, who we can now establish as the protagonist, Cal sitting within an office environment through a high angle medium long shot. His employer is conversing with him in the use of diagetic speech - the conversation is emphasised through shot reverse shot editing of medium close up's. The genre, again, is represented within this scene as the narrative of relationships (divorce) is still clear - linking to the romance aspect - but there is also a sense of comedy through what is said. The wipe transition is a signifier as it appears appropriate for a light-hearted comedic film; if it were to be used within a horror trailer, the genre would not be represented well and the desired mood would not be created. The following footage is cut in with another wipe transition. The use of transitions creates a prominent change of scenery and movement in time - in this way, the editing done almost acts as a jump cut. The first shot tracks feet walking from a close up perspective, then cutting to another close up of hands buttoning a suit jacket. The face of this new character is then revealed, leading the viewer to acknowledge the Hollywood heartthrob Ryan Gosling saying 'Hi'. Again, the trailer is conforming to typical conventions by including a heartthrob within a romantic comedy trailer as fans of the actor will be attracted to see him, thus, resulting in choosing to watch the film. Ryan Gosling is known for his roles within romance films (such as The Notebook), so the star system is used here to reflect the genre and create appeal. Montage editing follows on from this introduction of Gosling 'chatting up' woman; a 'lothario' figure is depicted, appealing to fans and further linking to the romance aspect of the film trailer. Cal (Carell) is included within some of these clips, so we can infer that these two characters share some sort of relationship. Through these shots, both a combination of diagetic speech and a sound bridge of non diagetic soundtrack is edited in.

Establishing shot

High angle medium close up

Low angle close up

Over the shoulder shot

The above shots feature a voice over which we recognise to be Gosling's (later confirmed as a low angle close up shows him mid-speech) along with the continuation of the soundtrack sound bridge. The soundtrack establishes continuation and connection between scenes. In this scene, the viewer is introduced to Emma Stone, who, again, is a well known actress - the trailer, once again, is using the star system to create appeal. These clips construct a new narrative which is reflective of the genre - a possible romance between Stone and Gosling - and there is also a touch of comedy within the narrative, further establishing the romantic comedy genre of the film.

As the scene transfers, we see Carell conversing with Gosling through diagetic speech. As the footage changes we see a variety of shot types used and cut in/cut out of the soundtrack as diagetic speech continues. It is becoming clear to see that the trailer has a solid style throughout; the editing has little change - montage, voice over's, transitions, soundtrack, diagetic speech etc. - and shot types vary little with two shots, close ups and so on. The best shots are also used to represent the genre. As the soundtrack cuts out, and then cuts in with the following footage, a change is created. The music is more up-tempo in comparison to the earlier soundtrack. Montage editing is particularly favoured within the proceeding shots as we see Gosling advising Carell (Cal) on how to change in order to attract women. The same style continues through these clips - wipe transition, close up shots, voice over and diagetic speech. We see the character transformation, adding to the narrative of the trailer and film. The soundtrack changes once again, as we see Carell (Cal) enter into the bar with a low angle medium long shot; the consumer recognises the scene as it was established earlier within the trailer. The soundtrack includes the words 'looking at me' and reaction shots from women reflect the changed impression of this character after undergoing advice from the 'lothario' figure. Slow motion editing enhances the impact of the change. Following the footage, the first intertitle is then included; intertitles are typical conventions of trailers and I will choose to include some within my own. Nearing the end of the trailer, we also see credits edited over footage again, this is something I will be considering to do within my trailer to conform to typical conventions. The title is also included, shortly followed by Ryan Gosling removing his shirt with Emma Stone replying in a comedic manner. By adding in clips like this, the studio is showcasing the parts which appeal most (such as Gosling shirtless) and those which represent the genre most - scenes of romance, emotion and comedy. Overall, I really like this trailer and how it has a distinctive style throughout to create a professional aesthetic and conforms to the conventions.