What are your needs when it comes to showing your project? How do you want to communicate your work? How do you attract the attention of key people to help you finish your audiovisual project?
The way in which you present your film, or any audiovisual piece, is fundamental for its visualization and distribution. It is an essential letter of presentation and, surely, very decisive when creating a judgment about your work. It is not something minor but crucial for the good outcome of it.
The teaser or trailer is one of your cover letters. Who do you want to address it to? To the public? To a distributor? To a producer? To a festival? You must take into account several factors that guarantee a success to reach who you consider and in the most appropriate way. You must have knoweledge about the different screens where your finished project will be shown.
What kind of audiovisual piece do we have? We must define it, conceptualize it, synthesize it, and know what we want to do with it.
How many trailers have we seen that do not reflect what we will find later on screen? Is that what we want? Are we interested in that? What tools do we need to reach our end?
The teaser as a provocation, as a claim, as a wake-up call.
The trailer as an extension of what you want to tell, as a concept that defines your project. As a structured narrative that summarizes our piece.
We will try to address these issues in a theoretical and practical way, with our own and representative examples.
We believe that practical implication is essential to teach this process in person, so that the students can share together with us the route from the idea to the final teaser / trailer.
Alejandro Lázaro is an outstanding editor with more than 30 years of experience, performing the functions of Editor, Lead Editor, and Coordinator of Post Production in Series as Costa del Sol’s Brigade (currently in broadcast), Pluto BrbNero, Fugitive. His trajectory as an editor covers more than 30 films for which he has been nominated four times for the Goya awards, winning it for The Oxford Crimes. In his filmography, there are films like Toc Toc, the Mexican production Vive por mi, Cuando dejes de quererme or La Comunidad. His experience and professional value make him a benchmark for advanced Workflow; and at the same time he is a prestigious teacher at the ECAM (School of Cinema and Audiovisual of the Community of Madrid). It also forms an editing pool together with the best publishers of Advertising in Spain, Artisans IMDB.
Degree in Philosophy from the University of Granada, and graduate in the specialty of Montage by the School of Cinematography and Audiovisual of Madrid (ECAM).
To date, she combines the work of editor with that of assistant editor, both in documentary and in fiction films.
She highlights in her filmography her work in films like Milagros, Chillida, lo profundo es el aire, o 100 días de soledad, among others. This year she has worked in ‘Sanmao, Cuentos del Sahara’ (Marta Arribas, Ana Pérez, 2019), a documentary produced by Ikiru Films; she has been the co-editor of Blindfol (Daniel Fernández Cañadas, 2019), produced by ISB tv; assistant editor of Teresa Font in ‘El Asesino de los Caprichos’ (Gerardo Herrero, 2019), as well as assistant editor of Teresa Font in ‘Dolor y Gloria’, by Pedro Almodóvar, produced by El Deseo.
She is currently working as an editor in the series ‘You Can not Hide’, produced by Telemundo; and as assistant editor in the next documentary by Fernando León de Aranoa, ‘Sabina’.