“In a World…” The epic evolution of movie trailers

Summary

Podcast Summary

Title: Twenty Thousand Hertz
Host: Dallas Taylor
Episode: “In a World…” The Epic Evolution of Movie Trailers
Release Date: March 19, 2025
Description: Sound, Uncovered. The secrets, stories, and science behind what you hear.

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Introduction

In this insightful episode of Twenty Thousand Hertz, host Dallas Taylor delves into the intricate world of movie trailer sound design. Joined by producer Andrew Anderson, sound designer Casey Emerling, and guest Grace East, the team explores how movie trailer sounds have evolved over the decades, highlighting key innovations and trends that have shaped the auditory landscape of cinematic promotions.

The Genesis of Movie Trailer Sound Design

[02:23] Dallas Taylor introduces the episode by expressing enthusiasm for revisiting content from their bonus show, Microhertz, specifically focusing on movie trailer sound design. Recognizing the importance of sound in crafting compelling trailers, the team sets out to analyze its transformation over time.

Evolution Through the Decades

1970s: The Birth of Epic Soundscapes

The conversation begins with iconic trailers from the 1970s, notably Star Wars. Grace East narrates a classic trailer segment:

[08:37] Grace East: "Luke Skywalker was just a farm boy until he received a mysterious message from a princess. Help me, Obi Wan Kenobi. She's beautiful. Star Wars starring Mark Hamill."

Andrew Anderson emphasizes the groundbreaking nature of Star Wars:

[09:26] Andrew Anderson: "I love Star Wars because it was such a watershed moment for sound design in general. That first film just changed everything in the trajectory of sound design."

The clear and direct dialogue in these early trailers aimed to inform and entice audiences without withholding plot details, a stark contrast to modern practices.

1980s: Synth-Driven Trailers

Transitioning to the 1980s, the team discusses the Predator trailer. Grace East shares another narrated segment:

[10:30] Grace East: "There's something out there waiting for us, and it ain't no man. They're up against the ultimate enemy. Holy mother God. Nothing like it has ever been on earth before."

Andrew analyzes the sound design elements:

[10:55] Andrew Anderson: "The first thing I noticed is that in 1987, MIDI and keyboards were really hitting a huge stride. You can hear that all over this. It's almost like pulling out a Casio keyboard and going, 'I'm going to make a movie trailer out of this.'"

He notes the emergence of synthetic sounds and the practical limitations of the era, where elaborate soundscapes were crafted using emerging electronic instruments rather than full orchestras.

1990s: The Era of the Narrator

The discussion moves to the 1990s, highlighting the dominance of Don LaFontaine, often hailed as the "Voice of God" in movie trailers. Grace East recites a typical 90s trailer script:

[21:16] Grace East: "In a world filled with violence, their only weapon is the truth. Jack Kane, a cop who does things his own way. One man must choose."

Casey Emerling reflects on the formulaic nature of these trailers:

[25:35] Grace East: "It's like, work is first, and my family is close second. I'm a distant third. Bringing up the rear by a miracle of modern science."

The use of authoritative narration combined with succinct plot summaries was prevalent, making trailers informative yet emotionally engaging.

Contemporary Trends: The Rise of Ephemeral Soundscapes

Modern trailers, as analyzed by the team, often employ broad, epic sounds interspersed with brief dialogue snippets and high-impact musical cues. Andrew Anderson critiques the contemporary approach:

[05:38] Andrew Anderson: "Nowadays, there's this very big trope about big epic sound, some sort of innocuous dialogue bite, some sort of hit or light booge followed by a plot point, followed by a bigger booge followed by a pop... Then you hear a creeping 80s reimagining song."

This method prioritizes creating an intense auditory experience, sometimes at the expense of narrative clarity, contrasting sharply with the more straightforward trailers of the past.

Technical Insights and Sound Design Techniques

The team delves into the technical aspects of sound design across different eras. Andrew Anderson remarks on the limitations and creativity of past sound designers:

[11:37] Andrew Anderson: "I don't know if that's a fake vibroslap or if that was like one of the real worldizing, you know, because what you want to do... gives a little bit of humanity to it."

Discussing the transition from analog to digital, Casey Emerling highlights how advancements like MIDI keyboards revolutionized trailer soundtracks in the 80s but also introduced new challenges in maintaining authenticity and depth.

The Role of Dialogue Editing

A significant point of discussion is the evolution of dialogue editing in trailers. Casey Emerling observes:

[09:46] Casey Emerling: "I watched quite a lot of trailers for the purpose of this episode, and I realized that in the older ones, they tend to give away a lot of the plot... They almost just list out, here's what's happening in the film."

In contrast, modern trailers often withhold key plot points, focusing instead on creating intrigue through selective dialogue and sound effects.

The Legacy of Don LaFontaine

The legendary narrator's influence on 90s trailers is a focal point. Andrew Anderson shares a personal anecdote:

[23:16] Grace East: "I was booked to do an ISDN with Don LaFontaine... he was just like, you know, da, da da, da, da, da, da, da da da."

LaFontaine's distinctive voice and delivery style set a standard for trailer narration, emphasizing clarity, authority, and emotional resonance.

Predicting the Future of Trailer Sound Design

As the episode progresses, the team speculates on future trends in trailer sound design. Andrew Anderson admits uncertainty:

[26:50] Andrew Anderson: "Predicting the future on movie trailers is something that I've been asked a lot and to be honest, I have no idea."

However, Casey Emerling suggests a possible shift towards simplicity and sincerity as a counterbalance to overly epic soundscapes:

[27:12] Casey Emerling: "I wonder if like simplicity and sincerity, that's possibly an answer because that's sort of the counterpoint to that, isn't it?"

The integration of streaming services introduces more variation, potentially blending nostalgic elements with contemporary techniques to cater to diverse audiences.

Conclusion and Final Thoughts

The episode wraps up with reflections on the dynamic nature of trailer sound design. Andrew Anderson hopes for a future where diverse styles coexist, allowing for creative experimentation:

[27:27] Andrew Anderson: "I could see a lot of throwback types of trailers coming in the future where movie directors are wanting to give the feel of the 90s trailer or the 80s style or the early 2000s style."

Casey Emerling concurs, envisioning a blend of old and new techniques shaping the next generation of movie trailers.

Notable Quotes

• Andrew Anderson [09:26]: "I love Star Wars because it was such a watershed moment for sound design in general. That first film just changed everything in the trajectory of sound design."

• Grace East [08:37]: "Luke Skywalker was just a farm boy until he received a mysterious message from a princess."

• Andrew Anderson [05:38]: "There's this very big trope about big epic sound... Then you hear a creeping 80s reimagining song."

• Casey Emerling [27:12]: "I wonder if like simplicity and sincerity, that's possibly an answer because that's sort of the counterpoint to that, isn't it?"

Conclusion

This episode of Twenty Thousand Hertz offers a comprehensive exploration of the evolution of movie trailer sound design, blending technical analysis with nostalgic reflections. Through engaging discussions and expert insights, Dallas Taylor and his team illuminate how sound has become an indispensable tool in shaping the cinematic experience, continually adapting to technological advancements and changing audience expectations.

Transcript

[Dallas Taylor]

Hey listeners. A lot of people don't know this, but 20,000 Hz was created because of a contest. I had this idea for a podcast about sound for years, and then in 2016, the podcast network Radiotopia announced something called PodQuest. It was an open call for people to submit trailers for a story driven podcast that they'd like to make. The winner would get to join Radiotopia and make that show. Having that deadline motivated me to actually start 20,000Hz. And while we didn't win PodQuest, I'm so thankful that it happened because this show might not even exist without it. Now, as a small indie team, we're.

[Andrew Anderson]

Not nearly as big as Radiotopia, but.

[Dallas Taylor]

We do have a sizable audience of thoughtful, passionate people. I know for a fact that we have some of the greatest sound artists and storytellers on earth that listen to this podcast. And just like what PodQuest did for me, I want to motivate you all to bring a story to life. That's why we're announcing a special competition which we're calling Sound Off. It's your chance to craft a mini 20,000 Hz episode that'll be heard by over 100,000 people here on this feed. Specifically, we're looking for fully produced stories that are roughly two to five minutes long and relate to sound in one way or another. It could include anything music, an interview, sound design, but it does need to be clean and appropriate for all ages. We'll count down the winning stories in a special episode this summer. The top creator will get a private feedback session with our team, as well as $100 in credit to the 20,000Hz store. For more details and to submit, visit 20k.org sound Submissions close on May 7, so start working on your story now. Again, that's20k.org soundoff there's also a link in the show notes. Regular health checkups often go by the wayside. When you're busy, it can be easy to think. I'll schedule it next month and before you know it, another year has gone by. But if you stay on top of your health, your future self will thank you for it. Stop putting off those doctor's appointments and go to Zocdoc.comHertz to find and instant instantly book a top rated doctor today. That's Zocdoc.com Hertz Zocdoc.com Hertz.

[Andrew Anderson]

You'Re listening to 20,000 Hertz.

[Dallas Taylor]

I'm Dallas Taylor and today I want.

[Andrew Anderson]

To play you one of my favorite episodes from our Short lived bonus show Microhertz. It's about movie trailer sound design. Through the decades, overused sound effects like.

[Dallas Taylor]

The Booge.

[Andrew Anderson]

And my personal encounter with movie trailer royalty. It's a lot of fun.

[Dallas Taylor]

So I decided to set it free from the paywall and spruce it up.

[Andrew Anderson]

A bit with some extra material.

[Dallas Taylor]

Enjoy.

[Andrew Anderson]

So joining me is producer Andrew Anderson. So how are you?

[Casey Emerling]

I'm doing very well. Dallas, how are you doing today?

[Andrew Anderson]

I'm doing fantastic. You have put together a series of movie trailers, and I am so excited to hear them.

[Casey Emerling]

As I was doing the research first, I just picked out the trailers from each decade that had the highest box office. So jaws from the 70s, Titanic from the 90s. Then I realized, actually as I was looking, that there was one movie franchise that had a top box office rating, basically in every decade. Do you want to take a guess at which film franchise it is, Dallas?

[Andrew Anderson]

Superman.

[Casey Emerling]

Probably there is Superman in every decade. Was there a Superman in the 90s? I don't remember.

[Andrew Anderson]

I can't remember. And I know that there's someone listening right now, probably screaming, yes, there was. But I don't remember.

[Casey Emerling]

But it is, of course. Da da da da da da da da da da da da da da da da. Star Wars.

[Andrew Anderson]

Star Wars.

[Casey Emerling]

That was the worst Star wars singing ever. I missed the first few notes.

[Andrew Anderson]

And I love Star wars because it was such a watershed moment for sound design in general. That first film just changed everything of the trajectory of sound design. So it's the perfect choice to illustrate the changes in movie trailer sounds.

[Casey Emerling]

Yeah, exactly. Yeah. So let's start with the very first one.

[Andrew Anderson]

Actually. I wanted to call an audible on this.

[Casey Emerling]

Oh, call an audible.

[Andrew Anderson]

Which is great because every time I call an audible, I have to remember you're British, thankfully, you lived in the US So you get that. But that's an American football term.

[Casey Emerling]

2040.

[Andrew Anderson]

That's an American football term. When a play changes just from the quarterback, changing what the quarterback's yelling. And so that's calling an audible for those who don't know American football. And so what that audible is, is. I think it'd be cool to hear the most modern trailer first, because I think we are so intertwined with how movie trailers are now that it's almost shocking to go back in history. Nowadays. There's this very big trope about big epic sound. Some sort of innocuous dialogue bite, some sort of hit or light booge followed by a plot point, followed by a bigger booge followed by a pop, followed by followed by, followed by a Plot point. Then it's a mega boosh into silence. And then you hear a creeping 80s reimagining song. Some sort of 80s classic or 90s classic, but reimagined, all spooky like.

[Casey Emerling]

Is there any that spring to mind that have lots of boogers and things?

[Grace East]

Dracula Untold 2015 featuring Everybody Wants to rule the world originally by Tears for Fears. I have been waiting an eternity for a man of your strength to arrive. Welcome to your life. What is it you are seeking? I want the power to destroy my enemies and save my family.

[Andrew Anderson]

There's no turning back.

[Grace East]

Drink Dracula.

[Casey Emerling]

Welcome to your life.

[Grace East]

What's happening to you? I'm the figment for you.

[Andrew Anderson]

That's how I imagine trailers nowadays. Most of the big epic trailers are kind of like that. So do you have a recent movie trailer first, and then we go backward.

[Casey Emerling]

Well, we have the trailer for force awakens from 2015 if you want to listen to that.

[Andrew Anderson]

Let's do it.

[Casey Emerling]

All right, let's do it.

[Andrew Anderson]

Who are you?

[Grace East]

I'm.

[Andrew Anderson]

No.

[Grace East]

I was raised to do one thing. But I've got nothing to fight for. Nothing will stand in our way. I will finish what you started.

[Andrew Anderson]

Oh, yeah, that's great.

[Dallas Taylor]

I'm hyped.

[Andrew Anderson]

It does follow like the bones of what a modern movie trailer does consistently. Single note, curious dialogue, bite. Single note, another pushing like little curiosity driven dialogue. A little further, single note, maybe with another note, little bit more bite. And then it just ramps, ramps, ramps, ramps, ramps into a release. And then either there's where your reimagined 80s track comes in, or in the case of this, they just play it cool the whole time. So this is really well done.

[Casey Emerling]

Should we skip back a bit in time now? Should we go all the way back to a New Hope?

[Andrew Anderson]

That's where I'm really leaning toward. Let's paint the picture a little bit. Nothing like this has ever come along. So I'd really like to hear how in the world they treated this new thing that they had no idea was just going to explode.

[Grace East]

Luke Skywalker was just a farm boy until he received a mysterious message from a princess. Help me, Obi Wan Kenobi. She's beautiful. Star wars starring Mark Hamill.

[Casey Emerling]

I'm Luke Skywalker.

[Grace East]

I'm here to rescue you. Aren't you a little short for a stormtrooper, Harrison Ford?

[Andrew Anderson]

Boring conversation.

[Grace East]

Anyway, look, we're gonna get proper. I think we took a wrong turn. Carrie Fisher. Good luck, Alec Guinness. You can't win, Darth. If you strike me down, I shall become More powerful than you can possibly imagine. 20th Century Fox presents the most extraordinary motion picture of all time. Star Wars. Here's where the fun begins.

[Andrew Anderson]

Gosh. Yeah, that is amazing. It just reminds me of. It's very kid glove. I can imagine marketing being. These people need to know exactly what is happening and who is in it. Very pragmatic, very matter of fact, very clear about. Just like there is no subtlety.

[Casey Emerling]

I watched quite a lot of trailers for the purpose of this episode, and I realized that in the older ones, they tend to give away a lot of the plot. Actually. They almost just list out, here's what's happening in the film. This is where the start is. It's a character. He doesn't know what he's doing. Then he goes on this adventure and look, he wins the girl at the end. Come and see the rest of the sinewy.

[Andrew Anderson]

It's like featuring Darth Vader as Luke Skywalker's father. See it now. And I know that back then it was a huge reveal in the theater.

[Casey Emerling]

Yeah, we've topped and tailed with Star wars there. How about we go ahead and listen to a classic 1980 trailer? Should we give Predator a go?

[Andrew Anderson]

Of course we should.

[Casey Emerling]

Here we go.

[Grace East]

There's something out there waiting for us, and it ain't no man. They're up against the ultimate enemy. Holy mother God. Nothing like it has ever been on earth before. She says the jungle just came alive and took him. We cannot see it. No blood, no bodies. We hit nothing. But it sees the heat of our bodies.

[Andrew Anderson]

Okay. The first thing that I noticed is that 1987, this is when MIDI and keyboards and artificial sounds were really hitting a huge stride. And you can just hear that all over this. It's almost like pulling out a Casio keyboard and going, I'm going to make a movie trailer out of this. Because back then it was like, what? I don't have to hire instruments, I don't have to hire an orchestra. I can do it all in this little keyboard. Let's do that. And so you. You obviously get this nowadays, this really corny sounding, epic track. But back then it sounded so modern, so clean. But nowadays it just sounds so dated. Yeah, I love the vibra slap.

[Grace East]

And it ain't no man.

[Andrew Anderson]

I don't know if that's a fake vibroslap or if that was like one of the real worldizing, you know, because what you want to do, even if you had a fake symphony in a movie score and you can't hire a real symphony, what you do to really.

[Dallas Taylor]

Fake it is you get a violinist.

[Andrew Anderson]

And a cello player and you get them to play as a separate worldizing track. It gives a little bit of humanity to it. It gives a little bit of moments of being out of tune.

[Dallas Taylor]

And in here, I kind of wonder.

[Andrew Anderson]

If just the big Vibra slap out of nowhere is like their worldizing of this synthy track.

[Casey Emerling]

Yeah. And just what do you think about the structure in terms of how does it compare to, let's say, the one that we heard, the Force Awakens? A very contemporary one.

[Andrew Anderson]

Let's see. On the contemporary side, it does build. It's very clear on what the plot is. I was kind of shocked to hear the spoiler that they can see the heat of our bodies.

[Casey Emerling]

Yeah.

[Andrew Anderson]

When I watched Predator as a kid, I felt like that was just a huge reveal. Whoa. That's how the Predator sees everyone. It's not through this normal way that humans see. It's heat generated.

[Casey Emerling]

I think in the past, they just didn't care about giving away stuff like that, did they?

[Andrew Anderson]

No, I think they just needed bodies in the movie theater and they were doing what they could to hype people enough. The other thing that I found really funny about this is just how bad some of the dialogue edits were.

[Casey Emerling]

Yeah, they were really off, weren't they? Some of them.

[Grace East]

She says the jungle just came alive and took him. We cannot see it.

[Andrew Anderson]

We didn't have. I don't think we had any form of pro tools back then, or how.

[Casey Emerling]

Would they have been doing that? Just with razor blades.

[Andrew Anderson]

I believe they were doing that with razor blades probably around this time, too. So we're hearing what I believe, and I could be wrong, but I believe what we're hearing is a lot of analog tape being cut alongside a very MIDI synth sample. New AG score. So it's pretty interesting to hear that difference.

[Casey Emerling]

And the disadvantage they had is they couldn't do a reimagining of an 80s track at the end because it was the 80s. Shall we listen to the trailer for the brand new Predator that's coming out?

[Andrew Anderson]

Yes.

[Grace East]

Why do you want to hunt? Because you all think that I can't. I saw a sign in the sky. I'm ready.

[Andrew Anderson]

My only Nita. So right off the bat, I will say that there's a couple things in here that are really hard to do as sound designers. Right at the top, you heard wind.

[Dallas Taylor]

That gusty wind.

[Andrew Anderson]

Something we talk about all the time at Defacto is that when you record real wind, you know what it sounds like. It sounds like white noise. It's just white noise for the most part. We're always looking for character in Winds, so then there's a scene right after that you can hear bugs in because.

[Grace East]

You all think that I can't.

[Andrew Anderson]

That is not easy to make it that crystal clear. That wood sound of the bear being dragged away. All three of those moments are like peak background sounds.

[Casey Emerling]

Dallas, I have a question for you. When Defacto Sound, let's say, receives a trailer like this, what do you actually receive as sound designers?

[Andrew Anderson]

Usually we get a trailer that is from an editor, but all the dialogue sounds pretty rough because oftentimes it's coming directly from the set and it hasn't been cleaned up yet. Now sometimes we do get that cut in the editing from the final mix too, where the dialogue sounds amazing. I have a suspicion that a lot of these sounds came straight from the movie because of just how well thought out they are. Not saying that trailer sound designers are incapable of doing that because that is not the case, but the amount of thought that went into some of these sound choices, I have a feeling that they probably pulled a lot of that directly from the background stem of the actual film itself. To craft this after the break.

[Dallas Taylor]

90S Rom coms and How I ended.

[Andrew Anderson]

Up recording the most famous trailer Voice.

[Dallas Taylor]

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[Casey Emerling]

With a classic 90s Rom com trailer just for a bit of fun?

[Andrew Anderson]

Oh, I'd love that. I think that'd be the perfect cap off because 90s was peak narrator One of the most famous narrators of all time for movie trailers was Don LaFontaine. He would roll around in a limo and go from studio to studio every day. Going in and just doing kind of the inner world where Da da da da da da da da da da.

[Grace East]

In a world filled with violence, their only weapon is the truth. Jack Kane, a cop who does things his own way. One man must choose.

[Casey Emerling]

We need others.

[Grace East]

Between having dinner. Not bad. And being dinner.

[Andrew Anderson]

He had like one voice. Maybe like a slight variation on that voice.

[Grace East]

Universal Pictures presents Adam Sandler the Price is Wrong Pop as golf's missing link.

[Andrew Anderson]

He was just a fascinating character. Honestly. We should do a show about this now that I'm thinking about it. But he would go just studio to studio in his limo. He had a limo driver that would pick him up, take him around. Eventually as we got into the 2000s, he then started to get into ISDN line which is a way that you back in the day could transfer high quality sound like prior to what we're doing right now, which was kind of a weird Internet connection. He was just then just being able to double and triple his work. He was making so much money doing this next semester. Rachel.

[Grace East]

Terror dude, it's her. It's her doing it. Runs in the Family the Rage Carry two.

[Andrew Anderson]

But there was a time early in my career I was working for G4TV, which was a video game network that I felt like was before its time. I worked there when these classic shows, Attack of the Show X Play were all on the air.

[Grace East]

X play weeknights at 6:30. Only on G4.

[Andrew Anderson]

I thought it was kind of like a little magical place. All the hosts and Stuff were very collaborative. We'd come in, we'd work through fun problems. But one time when I was really green, I got booked to do an ISDN with Don LaFontaine. And I maybe had six months experience at this point at this place. I was so intimidated, and I could not get the ISDN to work. So I had to, like, rush out, find another sound designer, get in there, hook it up. And I just took a back seat. I was like, I can't. There's too much too fast here, and I just can't do this. But I remember Don reading for this promo or something that he was being hired for, and he was just like, you know, da, da da, da, da, da, da, da da. And I remember this really young producer that was about my age going like, oh, thanks, Don. That was really good.

[Dallas Taylor]

But can you add a little bit.

[Andrew Anderson]

Of smile to that? And he was like, okay. You know, da, da da, da, da, da, da, da, da da da. And then the producer was like, okay, that's good. Why don't you give me a variation where you do this? And Don was just like, look, this is what I do. This is the voice. This is what you get. And everyone just went silent and was like, cool, let's move on. It was the most intimidating. And he wasn't even in the studio. Just imagine being in a studio where you just Hear this voice. Literal 90s voice of God.

[Casey Emerling]

That was his nickname, wasn't it? The voice of God, Something like that.

[Andrew Anderson]

Right. And he wasn't there, and it was just so intimidating. Just his presence, his voice. So it was so fun.

[Casey Emerling]

Yeah. Imagine that guy being your dad and him telling you off. That wouldn't be good, wouldn't it?

[Andrew Anderson]

So intense.

[Casey Emerling]

So I think in a world is probably the most famous trope in a.

[Grace East]

World where freedom is history.

[Casey Emerling]

But the other one, it's that kind of When Harry Met Sally, he was just working in a deli shop. But then it was a huge trope in the 90s. I think it continued a little bit into the 2000s. South Parker's done parodies of it.

[Grace East]

Rob Schneider was an animal then he was a. And now Rob Schneider is a stapler. And he's about to find out that being a stapler is harder than it looks.

[Casey Emerling]

So here's one. I found a film called Multiplicity. Let's hear that clip. Now.

[Grace East]

It's like, work is first, and my family is close second. I'm a distant third. Bringing up the rear by a miracle of modern science. I just need a Little time for myself. Doug Kinney is about to get the one thing he needs more of. Doug. Your clone himself. So what, what do I feed it now? Between the two of us, we're gonna get a lot of stuff done. We're gonna be awesome. There are two Dougs to go around. I'll get the dishes now. Drive the kids to school.

[Dallas Taylor]

Thanks.

[Grace East]

2 dubs to share the load. When did you have time to do all this? I suggest we all do them every morning. Find out what he had for breakfast.

[Andrew Anderson]

Yeah, that's Don LaFontaine.

[Casey Emerling]

Sounds like a totally ridiculous film.

[Andrew Anderson]

Yeah, I just love how Explanat like it just explains. And I remember in the 90s people saying, God, I wish movie trailers didn't explain everything. And now it just doesn't do that for the most part.

[Casey Emerling]

It's super formulaic. And I suppose contemporary ones are super formulaic as well, especially with some of the things you pointed out. But maybe it was a bit easier to put together those 90s ones because it's just like dialogue, dialogue, dialogue, change music, dialogue, dialogue, dialogue. Like you don't have to go through all of the. I mean, creating all of that epicness just sounds like hard work for the contemporary ones.

[Andrew Anderson]

Right. So predicting the future on movie trailers is something that I've been asked a lot and to be honest, I have no idea. There's only so far epicness can go before it's just going to come wearing. If you don't have highs and lows emotionally or highs and lows dynamically, it just kind of turns into noise.

[Casey Emerling]

Yeah. I wonder if like simplicity and sincerity, that's possibly an answer because that's sort of the counterpoint to that, isn't it?

[Andrew Anderson]

Right.

[Casey Emerling]

But what that sounds like, probably the answer is on more indie and lower budget films where they're having to come up with solutions that aren't so expensive to create.

[Andrew Anderson]

Right. I could see a lot of throwback types of trailers coming in the future where movie directors are wanting to give the feel of the 90s trailer or the 80s style or the early 2000s style. And in streaming services, I do hear a lot more variation in the way that movie trailers are made. So I don't know. I think we're in a bit of a mishmash of a lot of things for the next decade or two when it comes to movie trailers.

[Dallas Taylor]

We'll see 20,000 Hz is produced out of the Sound Design studios of Defacto Sound. Hear [e-mail] this episode was written and.

[Casey Emerling]

Produced by Andrew Anderson and Casey Emerling.

[Andrew Anderson]

With help from Grace East. It was sound design and mixed by Jade Dickey.

[Dallas Taylor]

I'm Dallas Taylor.

[Andrew Anderson]

Thanks for listening. How about that?

[Casey Emerling]

Yeah, we need to process your voice so it sounds like Don LaFontaine, though.

[Andrew Anderson]

I would love it if there was a plugin that made me sound like Don LaFontaine.

[Casey Emerling]

We'd all like that.

[Dallas Taylor]

Before we go, a quick reminder about our Sound off competition. It's your chance to craft a mini 20,000 Hz episode that plays on our feed. I know that many of you are incredible storytellers with a fascinating sound story to tell, and I can't wait to hear what you come up with. For details, visit 20k.org soundoff Submissions are open until May 7th, so start working on your story now. That's20k.org soundoff you can also find the link in the show description.