At the start of the trailer the black screen with green neon writing that reads “Los Angeles 2019” spells out the location and time frame for the audience. Setting the narrative in L.A, a frequently used city within films because of its iconic look was particularly clever because it allows the audience to make a direct comparison with the L.A and social climate they are used to. Throughout the trailer there are a number of aerial establishing shots, always at night, to create a sense of the new architectural landscape of a retrofitted future. The skyscrapers are emphasised by their large lit windows and yet the darkness hides the details of the building making the landscape at the same time monotonous and non-descript – only the Tyrell Corporation building is focused up in one of these shots. The aerial shots also give the opportunity to show the Spinners (flying cars) and highlight the technological development of the era and futuristic diegesis that is the backdrop of the plot.
Technology is also highly emphasised. In the initial shots of setting and protagonists definitions of key words are used to introduce the audience to the Sci-fi reality of the film and immediately create contrast between characters through the use of binary opposition. TV static and a grainy or flicker effect are often used either as transitions or to distort images during the trailer. These effects only enhance the technological elements of the narrative.
The trailer uses a number of fade transitions to allow on glimpses of both the action and the moments of high emotion. Character is shown to be crucial as within the first couple of shots both the main characters have introduced themselves. Hints of character development are given but not enough to give away the complex plotlines, for example romance is hinted at for more than one couple. However, the main focus of the trailer is the protagonist verses antagonist relationship. Although there is a character that physically takes the antagonistic stance (Roy) to our protagonist, Deckard, poignant lines of dialogue voice over situations and give an implication of some larger evil at work, “more human than human is our motto” (Tyrell) and “Will you help us?” (said by the supposed opposition).
The trailer is also littered with motifs and symbolism hinting at the deeper questions being asked within the story. The use of light and dark contrast, a neo-noir style, mirrors both the internal and external battles in the characters and story. Close up shots frequently light only half of the characters faces in order to intimate this. The appearance of the locations visited and lived in by the protagonist continue this styling, and few moments are properly lit – even fewer are lit by daylight, to highlight the immorality and corruption of this new society. The scenes that are lit then stand out against the backdrop of darkness which helps to build tension and mystery, whilst creating a grungy environment for the social crimes to take place in.
There is an eye motif, both in the film and trailer, which can be interpreted in many different ways. The idea of being watched could be intimated, particularly whilst contemplating the extreme close up of an eye, but the question is: who is watching who? Some people would even say the eye that fills the screen is ironically the eye of God, watching the violent and tragic events unfold.
The obsession of most characters within the film is the basic human instinct of survival. The trailer builds the tension throughout the one minute to imply the threat of death to most characters; this ambience is paralleled by the ominous, orchestral non-diegetic sound which creates jumps through large crashing sound bridges synchronous with crucial moments of action. However, the use and power of silence has not been left out. The silence allows a protracted pause in between the fast paced trailer and elevates the sense of suspense and also acts as ‘the quiet before the storm’ and increases the impact of the loud noise straight afterwards, the jump near the end.
The red anchorage in the title typography appear approximately half way through the trailer and read “From Director Ridley Scott” (who at the release of this newer trailer had gone on to become a large name in the film making industry and would draw appeal not only from his initial fans but also attract others. His name adds creditability to the film and is one of the movie hooks). Following the title the anchorage says “The Film That Started It All” which creates an antiquity to the narrative and implies its classic and important status in film history.
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