Read the entire interview at Wired.
On the online trailer phenomenon:
On the importance of finding the right song for a trailer:
When I began, trailers were not on the Internet. That’s changed dramatically over the past several years, especially with fan participation. We have instant critiques, for better or for worse. Everything has gotten faster... I was in a meeting with a director a couple of years ago. We had cut something that was on the short side, and he made a crack about it feeling like a trailer for a trailer. It’s bizarre that a year later, that’s become an actual thing people are doing. But I’m not a fan of that phenomenon. Honestly, I will say that my best experiences as a moviegoer are when I go in knowing as little as possible about a movie. That’s so hard to do these days.
On the attitude that contemporary trailers give away too much information about a film:Sometimes 70, 80 percent of the job can be trying to find that perfect [music] piece. Trailers are all about rhythm, pacing, and feeling. That’s why it’s important to always be listening to things. I go to South by Southwest every year, trying to build my bag of songs that I’m going to hold on to for the right moment. I’d had “Creep” on my iTunes for five or six years kind of kicking around before the Social Network trailer. You’re always looking for the right project to line things up with. And then when this project came along, I started to consider that song.
On trailers that have inspired him:
I’d tend to agree. You probably have to ask: Why is that? The studios want to have one weekend to capture the largest number of people. As I understand it, the data they get back is that people want to know more story—they want to know more before they make an investment. Now it may not be what you, me, or the readers of your magazine consider the right approach. But that’s what they’ve come to.
The easy ones to go to are any of the Kubrick trailers—they continue to be influential, inspiring.