In , an enterprising New Yorker named Herman Robbins realized the potential for a dedicated trailer market. He called his company the National Screen Service. Instead of suing Robbins, the overburdened studios eagerly sent their films to the NSS for him to convert into trailers.
Most film historians contend that at some point in the late s, theaters began showing movie trailers before the feature film rather than afterward -- most likely because serial-style films were on their way out, and patrons often left the theater immediately following the film.
Showing the trailers before, while the audience was obviously captive, proved more effective. Alfred Hitchcock, notes Filmmaker IQ , was a pioneer of a new, bold breed of film.
Methods of storytelling were changing in Hollywood, and directors began taking more risks. In an interview , he recalls the complexity and effort that went into his job:. To do my job you have to be a writer, a director, a producer I deal with schedules and labor, a sound engineer, an editor, and an accountant. I handle purchase orders and approve bills. You also have to be able to read a musical score and know how to get Due their brevity, trailers were also more difficult to find music for than feature-length films, and often required specially commissioned soundtracks.
Soon, music and scoring became increasingly important with trailer production. The Graduate , for instance, featured tracks that were custom-made by folk duo Simon and Garfunkel. By now, trailers not only were shown before feature films in theaters, but were used as stand-alone advertisements to boost interest in new movies.
In the s, the distribution of these trailers would be taken to a whole new level. With an increasing number of films being released for the wide screen, movie studios began to put more emphasis on the distribution of their trailers. It was in the 30s that movie trailers really began to evolve beyond simple newsreel-style sequences of movie clips to include sophisticated graphics, and by the end of the decade they had their own narration and musical scores.
Most modern movie trailers have a three-act structure similar to a feature-length film. They start with a beginning that lays out the premise of the movie. The middle drives the story further and usually ends with a dramatic climax scene. The last act often consists of a visual montage of powerful and emotional moments in the film and may also contain a cast run if there are noteworthy stars that could help sell the movie.
The last act may also feature some type of "signature music" recognizable song or a powerful, orchestral piece. Trailers tell the story of a movie in a highly condensed fashion that that has maximum appeal.
Over the years movie marketing has become a large industry and trailers have become highly polished pieces of advertising, able to present even poor movies in an attractive light. Back when movies where shown as a double feature, the first movie was referred to as the "B movie". Movies were specifically made with B-movie intentions, with lower budgets and sub-star talent.
In order to sell these movies of sometimes lower quality, the studios required cinemas to buy them as a package as A and B movies.
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