Vine Trailers

What the unblinking accounts of the O-Scope "release" missed was the real point of the stunt: to drive buzz for the film's paid distribution channels. And what O-Scope itself (deliberately) missed was the real point of Vine: to collapse the message into six seconds. At least as far as feature-length films are concerned, rather than a new kind of screening, Vine offers a new kind of trailer. "The Wolverine," Fox's blockbuster slated for a July 26 release, decided it was up to the challenge. All in six seconds: an angry man with a scruffy beard; a sword fight; bellicose monks; space-age shimmering steel blades; they're claws!; the wolverine hangs above an inferno; a love interest; more hand-to-hand combat, this time apparently in the air; a futuristic suit of armor in a lab; more sword-fighting; and some flying, for good measure. Watch for yourself, and you’ll probably catch shots I missed.

That professional clip inspired interactive marketing agency Glass Eye and editing shop Tokyo to show off Vine's potential for trailers by whipping up 144-frame versions of classic film trailers. Here's one from "Pulp" Fiction":

Some of the results are promising: While the "Ferris Bueller’s Day Off" post leaves you thinking it's just about the Ferrarri (an interesting contrast with the theatrical trailer), the "Jaws" post redefines high-concept marketing as telling the story in six seconds (compare with the theatrical trailer), and the hauntingly rhythmic post for "Taxi Driver" improves upon its trailer by following the maxim "Show, don't tell."

Tokyo's Fraser Bensted described how the idea came about: "I got an IM from Dan [Light of Glass Eye] saying, 'If I said to you, "Tweaser," what do you think it would mean?'" (The collaboration's Vines are tweeted from @retweaser.) Bensted -- whose day job includes making film trailers -- jumped at the idea. "If [Vine] had existed 30, 40 years ago, what would [trailers] look like?” he asked himself. He cranked out six in the first day and has settled into a pace of two per week. "I'm used to taking two hours and condensing it into two minutes, so taking two minutes and condensing it into six seconds is the same principle -- you're looking for the essence of it," Bensted told Indiewire. But he isn't sure the six-second format will work for new films with unknown characters. "It works for the older titles because there’s something iconic there. And it made sense for 'Wolverine' because there's a brand."