Case Study - The Grey: Movie Trailer

Released in Australia on the 16th of February, 2012, The Grey is a movie about faith and the sheer will to survive. The film follows a group of oil workers who found themselves stranded in a harsh environment and under extreme conditions after their plane crashed into the snowy wilderness of Alaska (IMDb, 2019). John Ottway (Liam Neeson), a skilled huntsman who is forced to lead those who survived the crash through the unknown terrain they are faced with, must fend off Wolves and use his knowledge to endure the challenges of survival.

"Live or Die on This Day" - The Grey

Directed and co-written by Joe Carnahan, this film had a budget of $25 million and gained an estimated worldwide box office gross of $77 million (not bad Joe...not bad at all) (IMDb, 2019). Although there were 52 individuals involved in the music and sound departments for this production, there are a select few names whom work are going to be deconstructed the most in this case study. First of all is Bob Kelloug (sound design) and Warren Hendriks (sound design), Michael T. Williamson (sound mixer) and Jared Marshack (sound mix technician), Aleksandar Dimitrijevic (composer: trailer music) and Jordan O'Neill (Datasat sound mastering engineer) (IMDb, 2019).

Before we can begin analysing the movie trailer, we must watch it first...

I specifically chose this trailer for my case study because the storyline, environment, encounters and musical composition can all relate in some way to the movie trailer that I am currently using for a sound replacement project, titled The Arctic. There are so many things that went into production with this trailer alone, so I will only deconstruct a few sections in detail and conclude with an overall statement about my thought and perspective on the message they are trying to convey in their trailer.

Music Composition, Sound Design, Foley & ADR

Opening scenes: 0:07-0:32

The first audible sound that comes into the mix (0:07) is a bass synth that seems to be constructed of two saw waves which are slightly detuned from one another. The low pulsing sound is modulating itself due to phase cancelation at a rate that is the difference between the two frequencies, this technique is commonly known as a 'Reese Bass' in electronic music production (BassGorilla, 2017). It has a slow attack and appears to have a Low Frequency Oscillator (LFO) that is slowly increasing the cut-off frequency of a Low Pass Filter (LPF), this is done to emulate the feeling of uncertainty and anticipation.

Roughly four seconds after the initial bass synth comes in (0:11), a piano is introduced. The notes that are played in the progression are quite simple, but are able to generate huge opportunity for emotion. For instance, there are three, three note cadences, all of which are in the key of C, two of which are interrupted and one that is plagal (Cadences, 2019). The first melodic configuration is D - E - E, this is an interrupted cadence as it's unresolved, but due to the rising nature of the melody, it enlists a feeling of hope. The second line is D - C - Eb+E, another interrupted cadence, yet the last chord (Eb+E) has a dissonance in it, this subtle inclusion creates an immediate feeling of tension and instability (genius!). The final melodic line is D + Eb + C, and although this is a plagal cadence, Aleksandar has used a C minor key scale, ultimately suggesting the resolution isn't positive. This works perfectly in accordance with the visual footage because right as the cadence is being resolved, Ottway is boarding the plane and an unidentified character convincingly says, "We're going home guys, let's keep it moving". Which in turn, tells us that their (potentially) long stint at work is over. Little do they know, things are about to take a turn for the worst.

Other subtle yet crucial items of audio in this clip is the foley and ADR. The key dialogue that has been used for this introduction sums up where Ottway is, what he is doing there and who he's waiting to go home to, giving you enough information without spoiling what's to come. Even the inclusion of a Wolf howling as a shot of the mountain side comes to screen (0:16). The howl has a large space reverb with a long tail and a LPF used to take out some of the higher frequencies, suggesting that there's danger out there; they may not be close right now and there is no directionality of the sound source, but they're out there. It is also during this short period where harsh atmospheric wind become clearly audible for the first time. Another piece of sound design is added at 0:21. Ottway spots a Wolf in the distance, as he reaches to pull out his rifle and look down the scope, a short noise (possibly layered with a square-saw synth) riser followed by a low frequency hit and reverb tail becomes present. By doing this it initially showcases that there are moments of adrenaline and thrill within this film. I think this is done in a perfect manor; the wolf, wind and then noise riser; telling the listener that the environment, wildlife and conditions are uncertain, harsh and dangerous.

When Ottway is laying in bed with his (presumed) partner (0:26), a transitional technique has been done by using foley audio of a high pressure water gun cleaning snow from the windshield of a plane. before the actual shot of the plane being cleaned comes to screen, this sound acts to build suspense by slowly raising the amplitude and slightly filtering it before revealing what the actual sound source is. The final piece(s) of audio to point out from this section is the sound of overhead storage lockers closing and the, "fasten your seatbelt" pluck sound (0:31). By using such recognisable sounds, this is subconsciously telling the viewer that everything is settled and ready to go.

0:32-1:12

Right on 0:32, the screen is black, there is only a reverb tail from the last note played on the piano which smoothly transitions into a rising harmonic cello chord. Layered with nothing but the sound of the workers exhaling in the cold arctic air, it is suggesting that a potential 'jump scare' is coming.This is an essential part in the trailer as it perfectly preludes the introduction of the film's plot. The plane crashes and suddenly the crew finds themselves stranded in the snow. As the plane is crashing there is an extremely layered and complex piece of sound design, this emulates the sheer force and brutality of being engulfed by an aircraft as it plummets from the sky. A key aspect of this section is the way the audio completely drops out in a glitching manner, this is representing the dissociation and uncertainty of the event at hand. a short cut scene of Ottway and his partner laying in bed until he is thrown (literally) back into reality. Tense and ominous brass horns begin as Ottway discovers the crash site of the plane. This music transitions into a more complete composition; adding drums and strings. The crew then begins to start compiling all of the supplies they can find, the music level drops by a few dB to make Ottway's voice the focal point. It is only when a date appears on the screen, January 27th (presumably the release date of the film), that the music volume enters a crescendo, sparking interest to viewers.

1:12-1:59

From here, the next challenge is introduced to the viewers; they're being hunted by a pack of Wolves. All the audio assets from this point become sharp and precise, the dB levels of the ADR and and instrumental are balanced to such a perfect degree, I imagine it would be virtually unnoticeable to one that isn't actively listening to the audio alone. The wind levels are less prominent in this section, this is acceptable because the harshness of it had already been established in the introductory sections. This allows for the music, SFX and ADR to take full control of the emotional direction for the rest of the trailer. Everything become more Intense and fast paced. Wolf howls, growls, and snarls are now happening more frequently and with greater attack and amplitude, implying that the Wolves may continue to track them throughout the movie and play a more major role than first expected. A crescendo is reached (1:55) followed by an instant moment of silence, to which the film title then appears on the screen. In relation to my statement earlier, having all of the music cut out directly after an extended period of intense and faced paced music has the same effect as the music only entering a crescendo when the release date came on screen. It emulates a moment of importance.

1:59-2:12

The closing section of this trailer has a different vibe compared to the rest of the audio. The Wolves growls now seem more demonic and rigid and the music is more synthetic as a whole (compared to the orchestral composition during the main body of the trailer). In what seems to be the epidemic of the film: Ottway is now by himself, he is cornered and can be seen strapping glass to his hands awaiting the confrontation that has been building for some time; finding himself face-to-face with the Wolves.

Conclusion

In conclusion I believe that the sound design, foley and ADR produced in this trailer paints a perfect picture as to how the movie unfolds. I've taken into consideration the production techniques and skills used to facilitate such a high quality trailer. Things like balancing ADR and instrumental volumes during sections of dialogue and the precise crescendo points during the trailer to emphasise certain key events is what makes a great production stand out from an average one. The appropriate use of spacial effects, particularly reverbs, in scenes (wolf howling in the distance) to best fit the visuals. If the movie is as good as the trailer is, then I cannot wait to watch it.

References:

The Grey (2011) - IMDb. (2019). IMDb. Retrieved 12 October 2019, from https://www.imdb.com/title/tt1601913/

What is a Reese and How to make one - BassGorilla.com. (2017). BassGorilla.com. Retrieved 12 October 2019, from https://bassgorilla.com/what-is-reese-how-make-one/

Cadences – Music Theory Academy. (2019). Musictheoryacademy.com. Retrieved 12 October 2019, from https://www.musictheoryacademy.com/how-to-read-sheet-music/cadences/