Artist Statement: I wasn’t planning on creating a trailer for Dunkirk, but once I heard Hans Zimmer’s Supermarine track from the film weeks ahead of the release, I just had to. The story of Dunkirk was known, but the plot of the film wasn’t. Because of this I had to make some assumptions (one ended up being completely wrong). After viewing all trailers and reading articles it seemed like there were multiple perspectives in the movie that didn’t directly connect with each other. There was the beach perspective split between common soldiers and high-ranking officials, the perspective from the air, and the perspective from civilians. Even though the majority of these different characters never meet together in the trailers, their actions indirectly were related to each other. If the pilots failed, men at Dunkirk die. If civilians failed to help, men at Dunkirk die. The structure of this trailer is meant to first establish the situation at Dunkirk showing the perspectives of both the soldiers and high-ranking officials. Once they bring up civilians joining to help, we jump to their perspective. Finally the strong music cue from the music with the low brass horns taking the melodic lead was the motivator in switching to the perspective of the pilots. The roar of their engines worked harmoniously with the brass section. I thought I read somewhere that Tom Hardy’s character was a German pilot (the other I assumed was British) so I edited footage around so that the two pilots shown were fighting each other. Oops! After watching the film I really appreciated how focused the perspective was from the allied troops only and none from the Germans. A few emotions I felt from official Dunkirk trailers were stress under time and claustrophobia. To help exaggerate these feelings the rate of cuts during the climactic ending increased in frequency. Water closing in on the soldiers was also a huge motivator in ending the trailer. Each shot after the last took on more and more water up until it consumes the entire frame.
1. The shot from 0:53-0:54 is from two separate trailers. I wanted a lengthier shot of the planes dispersing, but none existed. I compared all footage and was able to attach two different versions together. I had to color correct one shot as close to the other as possible, then crossfade them together so the change was subtle over time and not instant.