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 consider several factors that guarantee a success to reach who you consider and in the most appropriate way. You must have knowledge 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.
(Comodoro Rivadavia, Patagonia Argentina). He studied literature at the University of Buenos Aires, and cinema at the National School for Cinematographic Experimentation and Production (ENERC). In 1989 he moved to Madrid and worked as an apprentice, assistant and assistant editor on films such as “Amantes” (Vicente Aranda), “Jamón, Jamón” (Bigas Luna) and “El día de la bestia” (Alex de la Iglesia). At the same time, he created the production company “Complot”, producing and editing works such as “Divertimento”, José García Hernández. He created 50 pieces for Canal+, called Pin+, and in 2001 he founded the services company and production company Kilo Vivo Producciones S.L., with projects such as the documentary “Vida Férrea” by Manuel Bauer, official section of Visions du Reel.
His work as an editor for Alex de la Iglesia has earned him four Goya nominations, and one award in the 2009 edition for “Los Crímenes de Oxford”. He has also edited several documentaries, such as “Ella(s)” and “Milagros”, by David Baute.
He founded La Corte Editores, alternating between the positions of lead editor, post production supervisor and operations director, contributing his creativity and talent to “La Reina del Sur” (Netflix) and “Nicky Jam: El ganador” (Netflix). In addition, he has been the post production director on projects such as “No te puedes esconder” (Netflix) and “Armas de Mujer” (Peacock-HBO).
He teaches editing classes at Ecam and regularly collaborates with Miradas Doc.
CLARA MARTÍNEZ MALAGELADA
A philosophy graduate from the University of Granada, and from the Cinematography and Audiovisual School of Madrid (ECAM), specialized in editing. During her period as a student she founded Sala 1, Revista Digital de Cine, in 2012 and she has collaborated in various cinematographic publications, such as Caimán Cuadernos de Cine (Spain).
Assistant editor on films such as “Altamira” (Hugh Hudson, 2016), and “El Olivo” (Icíar Bollaín, 2016). Co-editor with Alejandro Lázaro on “Milagros” (David Baute, 2017). Assistant editor to Teresa Font on “Dolor y Gloria”, by Pedro Almodóvar.
Editor on “Vida Férrea”, a documentary by Manuel Bauer, premiered at Visions du Réel. Editor of the Netflix series “No te puedes esconder”, produced by Telemundo.
In 2020 and 2021 she worked as assistant editor to Jordi Azategui on “Nieva en Benidorm” (Isabel Coixet, 2020), produced by El Deseo. She edited the full-length fiction film “Miss Futuro”, by Antonio Morales and also worked on the editing of the documentary series “G.E.O.S. Beyond the Limit”, by David Miralles (2021); and she edited the feature film “La Niña de la Comunión”, by Víctor García, produced by Ikiru Films and Warner.
In 2022 she edited the full-length film “Bajo Terapia”, directed and produced by Gerardo Herrero, and co-edited the documentary “Sintiéndolo Mucho”, by Fernando León de Aranoa, about the artist Joaquín Sabina. At present, she is editing “Mariposas Negras”, by David Baute and the documentary “La Mirada Oculta”, directed by Carlota Nelson and produced by Wanda Films.
In 2021 she opened her own production company, Klarita Producciones.