Part 1: First 20 seconds
Lots of non diegetic sound when film title is first shown, almost like a swiping noise as the letters switch around, the visual and audio messages match up well and this creates much more of an impact. This is combined with eerie undertones gradually increasing in volume until suddenly it all stops. This is in time with the close up of a man in a chair, the first part of film we see in the trailer. All the non diegetic sound goes silent after around 17 seconds, where the diegetic sound begins. The transition to diegetic sound is around 15 seconds into the trailer, where diegetic dialogue can be heard, "You ready?" is used, immediately grabbing the attention of the viewers and making them want to find out more. The next part of sound which begins at 17 seconds is extremely important as it is used throughout the rest of the trailer, a metronome is set and this begins to tick very loudly, while a close up shot is used to watch it swinging. This ticking noise is repeated throughout the rest of the trailer and is used as a sound bridge to identify when certain parts of the film are occurring in the house and linked together.
Part 2: 35 seconds to 48 seconds
In this section from the very beginning diegetic dialogue is used again to reveal to the audience some clues about what is happening to the young boy, "He's not in a coma" tells us that something is not quite right and hints at the idea of a mysterious force at work. This diegetic sound is combined with a sweeping noise, similar to the sounds used at the beginning, however it is much more subtle and just adds a saddening impact into the news the mother is explaining to her son. In then rapidly increases in pace and volume in a matter of seconds to bring us back to the title credits of the film. This is evidence of another sound bridge being used in the film trailer. After the title has been shown, there is no presence of non-diegetic sound again in this section, instead there is diegetic squeaking, in time with the ticking metronome that was shown at the beginning. This slow ticking builds suspense and helps the audience to identify the genre of this film. We should try to use this technique of repetition and sound bridges in our trailer because it really helps tie ideas together and create a link between various films.
Part 3: 53 seconds to 60 seconds
Although this is only a small scene from the trailer, I think it shows excellent use of editing and creates a strong link between what is happening onscreen with the audio the audience hears. A close up shot is used to draw the audience's attention to a baby monitor on the piano in the house. There is diegetic crackling sounds, almost like disturbance is being picked up by the monitor and this creates a build up to the rest of the scene. A low angle shot is also used to show what dominance and power the sound has over the mother in the film, and this is where the diegetic sound makes a dramatic link to the non diegetic sound. As the mother drops the baby monitor after the the man screaming is heard, the non diegetic sound is completely in sync with this and makes it so dramatic and obvious something bad is happening. This followed by the baby screaming draws the audience in and causes the trailer to have some emotions, all created by the sound.
Part 4: Last 20 seconds
In the last thirty seconds, the sound bridge created first by the metronome is used again and a full shot of a grandfather clock is used. The diegetic sound of it ticking is very loud and the only thing that can be heard. It is very eerie as it is the only thing in shot, in a very dark scene, and this creates a chilling atmosphere. The diegetic dialogue "It's your son" reveals a massive part of the plot to the audience, and I'm not sure we should be so daring if we include diegetic dialogue in our trailer, however, the complete contrast between this and the immediate non-diegetic crash in combination with a white bright light causes the audience to jump. This non diegetic sound becomes very ominous, it sounds like string instruments getting increasingly high in pitch as well as loud drum beats every time a jump cut is used. The tempo increases along with the change of scene and the sound becomes very discordant and uncomfortable to listen to, a good accompaniment to the horrific scenes. The sudden stop and almost silence, apart from the subtle swishing noise used a the beginning, again used as a sound bridge for the title is very effective, and as the ticking fades out it lulls the audience into a false sense of security. Linking back to the earlier shot of a piano, the last sound heard is a mixture of discordant notes echoing from a piano, leaving a thrilling ending for the audience.
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