Trailer Analysis by Jonathan Harvey

World War Z is a horror/apocalyptic type film that was released in June of 2013. The plot follows a former UN employee and his family as they try to survive what seems an inescapable infection that has seemingly turned the world’s population into ‘zombie type creatures’.

The film was produced by Brad Pitt’s own production company, ‘Plan B’ and had an enormous budget of $125 million. This is similar to the budget of The Wolverine (which had a slightly smaller budget of $120 million). This gives a slight indication to the size of World War Z, as Zombie horror films are normally produced on a much smaller budget.

We are shown an establishing shot immediately, as the camera pans downwards looking down a busy street, identifiable as America. Next we see a medium shot of a family sitting in the car, this allows the trailer to build up a ‘happy family’ atmosphere before events inevitably take a turn for the worse. This atmosphere is furthered through a variety of different camera shots as the family have a conversation it flicks between the characters, including point of view, over the shoulder and close up shots. As their conversation is cut short, and events begin to unfold, the camera snaps to a close up of the wing mirror as it ripped off by a police motorcyclist. As chaos develops, including a large explosion, a mixture of long shots and then coordinated close-ups of the characters’ faces effectively portray the confusion and anxiety that is being experienced on screen as no one is truly sure of what is happening. During the same scene, a tracking shot is used to portray the furious impact and speed when the police man is crushed by the truck.

When chaos has we and truly taken hold, we are shown extreme long shots of the city, with people running everywhere in sheer panic, this type of shot helps us to gauge the size of this incident/crisis. The size of the incident is also well portrayed in the governmental response, following a tracking shot of fighter jets the camera switches to a POV shot (point of view) of a soldier in the back of an aircraft. The fact that military intervention is apparent, shows how dyer and serious the situation is.

An effective technique to depict panic is the use of ‘shakey cam’, as the camera is handheld during running scenes. Such a technique is something I may consider using when making my own trailer. An aerial shot taken from a helicopter continues to build on the acknowledgement of the scale of the pandemic. We then see how technology has benefitted the trailer, with archive-type footage being used to represent news reports, and special effects being used to show a confrontation with the ‘infected.

Soon the camera shows a close-up as one of the characters lights a flare. This is to show its importance to the characters as it soon appears that they need it to signal an escape from their location. We are shown another extreme long shot of the city in turmoil and destruction, this repeated tactic allows the producers to really push the scale and tragedy of the crisis to the audience, with the intention of creating more interest in the story line.

Another technique, including the use of a dolly/crane is also shown when the camera falls backwards as a mob of ‘infected’ charge towards the screen. At the end of the trailer, a POV shot is used followed quickly by a close up on the main character’s face to show his reaction to the horrific sights he witnessed.

In relation to edits, the trailer uses a variety to help continuously build the tension throughout. From the very start, there are plenty of almost ‘jump-cut’ like transitions as the camera bounces from one place to the next during the family’s conversation. This continues when the camera makes a very sudden switch as the wing-mirror is broken. The speed of such is used to make the audience feel the same surprise as the characters as it was very unexpected.

The idents are seen 45 seconds into the trailer, which is quite long for such a large-budgeted film, but as this is the first trailer, the producers will have wanted to entice the audience immediately with clips from the film, to save them losing interest during the idents. However the trailer does begin with a mandatory age restriction/warning.

As the trailer progresses and the music intensifies, the edits fall in place with the heavy beats of the soundtrack, creating a sense of unity and ensuring a smooth flow. During this time, text screens a slotted in, with information such as ‘This Summer’. We then go on to see a slight graphic match of a mobile phone between two characters, this creates an immediate link between the familiar and unfamiliar character, as well as showing to the audience the importance of their phone call.

As the trailer enters it’s ‘rise’, the edits are continuously quick to keep up the feeling of suspense while avoiding giving too much away as the shots are so short. We see another example of music-editing cooperation when the main character runs along the roof top, the shot flashes in time with the soundtrack.

The Mise-en-scene of the trailer plays a vital role in creating a real sense of danger and panic, representative of that which would occur during a pandemic. Straight away from the establishing shot, we can see iconic yellow cabs and American cars, as well as tall skyscrapers, all of which confirm in the mind of the viewer that this film is set in America. There are numerous instances of police officers and emergency services being present, as well as a direct shot of news helicopter. All of these hold connotations that there is something big happening, and lets the viewer know that it is quite serious. This same feeling is reinforced when crowds are shown running, with military fighter jets over head.

Later on we see graphic maps that that give the trailer a contemporary feel. This is also used as an effective means of showing the pandemic is world wide.

One of the most effective scenes of the trailer, is the scene in the roof access, with a red flare as their only source of light. We watch the flare be lit and burn away in the background as the lights dimly flicker above. This adds tension, and with red having connotations of harm and danger, it was a suitable choice for the colour of flare.

As the trailer progresses, we see more of the ‘infected’ and can notice that they are wearing normal civilian clothing. This creates a more realistic and somewhat higher threat level as it portrays the fact that anyone can get infected, and you may not know who. We also see the husband and wife talking via satellite phone, which shows they have been separated, raising the interest levels in the viewer as they want to see if they are reunited. Towards the end of the trailer, we see a backlit military plane in the pitch black, in the heavy rain. This shot is particularly effective at making the situation more tense and edgy due to the reduced visibility in the dark and heavy rain.

Finally, the most important aspect of this particular trailer is the sound as it is used very effectively to create a well-timed, smooth running action sequence that keeps the viewer interested at every moment. The trailer begins immediately with diegetic sound that instantly sets the scene, I am referring to car horns. The characters voice starts before the camera cuts as to make a smooth transition as well as make the link that the family are sitting in the traffic that we have just witnessed. We go on to hear faint sirens in the distance leading up to the explosion, which soon explains their presence.

When the police officer arrives and is shouting ‘Get back in your vehicle’ and is suddenly killed, it is quite evident that something is very wrong, this generates interest in the viewer. What is especially effective is the high pitched noise that played immediately after, this offers the viewer some time to reflect on events without being distracted by a variety of different sounds. Theme music with heavy beats continues to play with dialog mixed in to create tension as well as explain the story.

Later on in the trailer, during the flare scene, we initially hear it being lit and then the characters exchange dialog, however their voices are tense and they are whispering. This shows the imminent danger that they are in and is very effective in creating a very nervy atmosphere and portraying the characters emotions.

Towards the end of the trailer, as the main character is running along the roof top, the shot is edited to flash to add more effect to the chase scene, during this shot, the ‘hits’ of the music are in time to create more suspense.

In terms of dialog, the main character’s conversation with the admiral of the warship, which then continues to be played over the following scenes. This shows the importance and significance of the information being said.

The trailer ends with one last line of dialog followed by a final hit of the soundtrack. Brad Pitt’s character says ‘Just know I’m coming back…’ and then the camera cuts away. This leaves a last bit of interest in the mind of the viewer.