PANEL 19: A shot of the title page of the book with the date prominently displayed, and perhaps even a slight zoom in on the printed date. I toyed with the idea of removing this sequence of visuals in the library entirely, being unsure as to whether or not it would read correctly (i.e. the idea of the date of the book conveying all the correct information in the time allotted in the trailer). The irony of having the one sequence in the trailer that didn’t look at all futuristic running against the one bit of dialogue that mentions the future was not lost on me, and so I considered simply going with shots of the chambers and cities and anything that simply looked futuristic. But after giving it some thought I’m satisfied that the dialogue reinforces the pictures well enough, and with the added shot of Lanier and Patricia I’m hoping it works better.
In terms of the overall flow of the trailer, I chose this bit of dialogue because it gives the viewer a taste of what Patricia is going to be dealing with without spilling the whole plot. Mention of the future comes very early in the story and so I don’t feel it’s giving away too much by mentioning that aspect in the trailer. It also ties in with the direction already established of concentrating on Patricia. Although the quote here in the book is really Lanier showing her this, in terms of the flow of the trailer it could be taken as her being the one to discover it (and thus is in keeping with the idea of her unlocking the secrets of the Stone). So on one level it perhaps slightly distorts what actually happens, but I don’t feel it misrepresents the main thrust of the actual story (because it actually is something she discovers, she’s just not the first one is all). I’m conscious of using the various parts of the movie to one end in the trailer without misrepresenting the story itself. This same sort of thing happens in a few more sequences later on as well.
PANEL 20: Same as the rough boards. Although the board doesn’t really convey it, I picture a fairly dynamic angle here that shows both the flaw and the “ceiling” overhead, hopefully with some indication that the city is literally wrapped around the inside of this chamber. Possibly a pan upwards to reveal that.
PANEL 21: Instead of having two static landscape type shots, I replaced the sixth chamber shot that was originally here and in its place put in two shots of Patricia at the flaw, one wider shot to establish the setting and then a close-up showing her face barely perceptible and all distorted in reflection. These shots come right after Lanier’s line about the Stone being from a future. I think the distortion in Patricia’s reflection in some ways stands as a visual metaphor for possible distorted or alternate time-lines (see, now I’m getting all literary-like). In any case, it shows a little bit more action than simply another still of scenery.