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Some movies are loved by the people who make them and by the people who sell them, and they're still tough to open. Jim Fredrick, who ran the marketing on The Iron Giant at Warner Bros., sits down with producer Allison Abbate to talk about how the film was made, why it opened to just $5.7 million, and how it became one of the most beloved animated films ever. Takeaways Half the money, halfway through. The film started with an $80 million budget. After Quest for Camelot flopped, the studio cut it to $40 million, and by then a big chunk of the original money had already been spent. A poster drawn by the filmmakers. Brad Bird and his animators made the key art themselves, which is almost unheard of. The only real argument at the studio was how small to draw Hogarth. Lay the track early. Allison believes the film needed a teaser and buzz a year ahead of release. An August date against Tarzan didn't give audiences time to find it. Don't be a feathered fish. Jim shares Alan Horn's advice on picking one message, and explains why the film's heart was the hardest thing to get into the trailer. The long road to classic. The film swept the Annies and won a BAFTA, a year before animation even had an Oscar category. Pull Quotes "I always say I got more hugs from Iron Giant than box office dollars." – Allison Abbate "If the studio doesn't treat it like it's a jewel in the crown, the people are not gonna think that it is." – Allison Abbate "I sometimes worry that that poster hurt us because it didn't look like a movie poster." – Allison Abbate "Iron Giant is my animated version of Shawshank Redemption." – Jim Fredrick Sponsors This episode is brought to you by the Golden Trailer Awards (goldentrailer.com) and Atlas Talent Agency (atlastalent.com). Follow Opening Weekend: Selling Hollywood with Jim Fredrick on Apple Podcasts, Spotify, or wherever you listen.

Gerry Rich started planning his escape to Hollywood from a basement desk in the Midwest at age ten, and he went on to run marketing at Miramax, MGM, Paramount and Amazon MGM Studios. Now he's written it all down in Chasing Hollywood: A Marketing Chief's Lessons on Breaking Through, and he joins Corey to talk about the letters, the screamers, the twist nobody gave away, and why culture beats contracts. In this episode: Letters, not asks. As a college student, Gerry wrote to the studio marketing chiefs he admired and asked only for their time and insight. Decades later, one of them framed his letter and gave it back to him. The movie everybody's talking about. Miramax had no money for paid media, so The Crying Game broke out on earned media alone.  Volume vs. knowledge. With the town's famous screamers, the only defense was to be on top of everything: show you care, bring the facts, have a game plan. Alchemy. Rebuilding a bankrupt MGM with GoldenEye, Get Shorty and Leaving Las Vegas taught him that no two marketing plans should look alike, and that the right team is worth protecting. A few lines that landed: "If you get the right group of people together and do magic together, the worst thing you could do is come in and haphazardly shake them all up like dice." (Gerry Rich) "You don't try to respond to volume with volume." (Gerry Rich) "Nobody is gonna figure it out for you." (Gerry Rich) "As much as you're seeking out bigger opportunities, better opportunities, also seek out your people." (Gerry Rich) Chasing Hollywood is out October 13 from HarperCollins Leadership, in hardcover, ebook and audiobook. www.harpercollinsleadership.com/books/chasing-hollywood Brought to you by the Golden Trailer Awards and Atlas Talent Agency. goldentrailer.com atlastalent.com

Opening Weekend: Selling Hollywood with Jim Fredrick continues on the TG&TG feed. This week Jim sits down with longtime friend and colleague Bryan Allen, the poster designer and former Paramount creative executive behind The Truman Show mosaic one-sheet. From cutting type by hand in the '80s to the thumb-stopping digital age, Bryan breaks down how a single still image helps a movie find its audience. Takeaways: The 30-mile-an-hour read. Tony Seiniger's rule that a poster has to land at a glance, from the billboard era to the scroll. Fonts have feelings. How a typeface, and even its weight, sends an emotional message before you read a single word. Symbol or soup can. The two essential approaches to a one-sheet, and why three heads in the sky is sometimes the responsible call. Every frame of the film. How a 1986 joke about the Wall Street poster became The Truman Show mosaic. Make the posters. Bryan's advice for young designers trying to break into the business. Just remember: "It helps the audience find the movie. It helps the movie find the audience." — Bryan Allen Our sponsors: The Golden Trailer Awards (goldentrailer.com) Atlas Talent Agency (atlastalent.com) Opening Weekend now has its own feed. Follow the series on Apple Podcasts and Spotify: Apple: podcasts.apple.com/us/podcast/opening-weekend-selling-hollywood-with-jim-fredrick/id6806323200 Spotify: open.spotify.com/show/39EWkVdYbK7P4kNDWLzH0E

Opening Weekend: Selling Hollywood with Jim Fredrick continues on the TG&TG feed. This week Jim rides solo, revisiting the campaign he calls "the assignment of a lifetime": Harry Potter and the Sorcerer's Stone. As senior vice president of creative advertising at Warner Brothers, he traces the campaign from an illustrated owl poster with no actors in sight to a $90 million opening weekend that turned one film into a franchise. Takeaways: The call upstairs. A 1999 meeting with his boss turns into the assignment of a lifetime. Freezing in Leavesden. A week cutting a promo reel on location, scored to the Home Alone soundtrack, and the door that opened onto a world of pure movie magic. The slow reveal. Why the campaign opened with an owl and a letter, then opened the envelope a little further with each poster. Sitting on the fence. Balancing filmmakers on one side and studio bosses on the other, and why that tension is the whole job. One agency, one shot. Why Jim hired only The Ant Farm, and what Drew Struzan's final poster meant for the campaign. Just remember: "There is no franchise unless the first film is a hit." — Jim Fredrick Our sponsor: The Golden Trailer Awards (goldentrailer.com) Opening Weekend now has its own feed. Follow the series on Apple Podcasts and Spotify: Apple: podcasts.apple.com/us/podcast/opening-weekend-selling-hollywood-with-jim-fredrick/id6806323200 Spotify: open.spotify.com/show/39EWkVdYbK7P4kNDWLzH0E

Opening Weekend: Selling Hollywood with Jim Fredrick continues on the TG&TG feed. Barbara Glazer was one of our very first guests on this podcast, back in 2019. She's also one of the industry's true glass-ceiling breakers: co-founder of The Ant Farm, and the creative leader behind campaigns for Lord of the Rings, Pirates of the Caribbean, and Kill Bill among hundreds of others. She sits down with Jim Fredrick to trace a career that started by accident on a Moviola upright and ended up reshaping who gets to run a trailer house. Takeaways: A trailer she never meant to cut. Barbara started in documentaries. A client short on cash brought in a trailer for The Dead Zone as payment in 1982, and she ended up cutting it herself. She broke the glass ceiling without setting out to. She built a partnership at Silver/Glazer, then left after fifteen years to co-found The Ant Farm in 1997, one of the only women running a shop like it at the time. Culture was the whole strategy. She wanted to train and nurture people in a business that didn't always do that, and it's a big part of why Ant Farm grew as fast as it did. Just remember: "F**k 'em if they can't take a joke." — Barbara Glazer Our sponsor: The Golden Trailer Awards (goldentrailer.com) Opening Weekend now has its own feed. Follow the series on Apple Podcasts and Spotify: podcasts.apple.com/us/podcast/opening-weekend-selling-hollywood-with-jim-fredrick/id6806323200 open.spotify.com/show/39EWkVdYbK7P4kNDWLzH0E

Trailer Park's doors are closed, but the tribute rolls on. Chapter 2 picks up as the shop outgrows Cahuenga, settles into the Santa Monica Boulevard building and then Ivar, and finally lands the industry rock star it had been courting for two years. Tim Nett, Benedict Coulter, Brett Winn, Ellie Speare, Charlotte Honess, and Charlie Austin trace how a scrappy comedy house grew into a full-service powerhouse without losing what made it fun. Part reunion, part masterclass in the culture that kept people around for decades. In this episode: The rock star joins the band. After seventeen years at Kaleidoscope and a stint at Aspect, Benny Coulter passed on a bigger offer to become an owner at the scrappy shop instead. His action and drama work alongside Tim's comedy turned Trailer Park into a true full-service house. Do three, send six. The signature move was over-delivering on purpose. Clients asked for three cuts and got six at no charge, and most of the shop's awards came from the spots nobody requested. No brilliant jerks. Talent alone never got you hired. Anyone who wouldn't fit the family stayed out, no matter how good, and that rule is a big reason Ellie Speare stayed twenty years. A few lines that landed: "It didn't matter how brilliant they were. If they weren't gonna fit in, they weren't welcome." (Tim Nett) "I was thinking about the money. Then I said, no, no, no. I'm going to Trailer Park." (Benedict Coulter, on turning down a bigger offer to become an owner) "Everyone said, 'You're a girl, you can't cut action.' Benny said, 'Absolutely you can.'" (Charlotte Honess) Brought to you by the Golden Trailer Awards and Audiomachine. goldentrailer.com audiomachine.com

Opening Weekend: Selling Hollywood with Jim Fredrick continues on the TG&TG feed. A soap marketer who'd never set foot in Los Angeles became the most successful studio head in movie history. Alan Horn ran Warner Brothers and then Disney, greenlighting Harry Potter, The Dark Knight, and the modern Marvel and Star Wars era. He sits down with Jim Fredrick to trace a 60-year career built on serendipity, and to talk honestly about what selling a movie takes now. Takeaways: Hired because he was perfect. A Procter & Gamble marketer working on Ivory soap, Alan got recruited by Jerry Perenchio precisely because he'd never watched much TV and never been to LA. "You're perfect. You're hired." Norman Lear backed him against a mutiny. Writers walked out of his first All in the Family table read. A month later Lear stood up in front of 40 people and told them to accept it or get out. The Blackwing 602 pencil made it official: "You are now qualified to give notes." Green light or nothing. Alan took the Warner Brothers presidency only with final say on what got made, then built the run that led Bob Iger to call him for Disney. You can't buy an opening weekend anymore. Social media broke the old playbook. Audiences text each other 20 minutes into a Friday screening, and marketing keeps getting treated as low-hanging fruit when studios need to cut. Pull quotes (social-ready): "Every problem that I've ever had in business is a people problem." — Alan Horn "Throw a hundred lines in the water, because all you need to do is catch one fish." — Alan Horn "It's not so easy to buy an opening weekend, because people start texting each other 20 minutes into a movie on a Friday." — Alan Horn "It isn't really pre-COVID anymore to me. It's pre-streaming dominance." — Alan Horn Sponsors: Golden Trailer Awards (goldentrailer.com) West One Music and Q Factory by Robert Etoll (westonemusic.com)

We're proud to introduce Opening Weekend: Selling Hollywood with Jim Fredrick, starting with episode one right here on TG&TG! The most beloved movie on IMDb was, on opening weekend, a flop. Jim Fredrick, who cut the original trailer at Castle Rock, reunites with producer Liz Glotzer to unpack how The Shawshank Redemption got left at the box office and found its audience anyway. Takeaways: The title took the blame. Trimming Rita Hayworth and the Shawshank Redemption down to The Shawshank Redemption was meant to play commercial. The press pinned the soft open on a title nobody could decode. No stars, an R rating, a prison. Jim walks through the marketing wall he faced, with Darabont sitting beside him guarding the cut so the trailer gave nothing away. Three million to walk away. Darabont turned down a big payday to not direct, and chose to helm his debut instead, one of several near-misses behind the finished film. Oscars, then Turner, then legacy. Seven nominations nudged theatrical, but the film truly found its audience through relentless TNT airings and a chart-topping home video run. Pull quotes (social-ready): "For 18 years, The Shawshank Redemption has been the number one movie on IMDb. So why wasn't I able to open the film?" — Jim Fredrick "We thought we were being commercial by changing it from Rita Hayworth and Shawshank Redemption to The Shawshank Redemption. Probably that was our first mistake." — Liz Glotzer "The marketing perspective is always give as much away as possible." — Liz Glotzer "You pretty much couldn't turn on the channel and Shawshank wasn't playing." — Liz Glotzer Sponsors: Golden Trailer Awards (goldentrailer.com) West One Music and Q Factory by Robert Etoll (westonemusic.com)

It was so cool to get to hang out with Chris Daniel, the Senior Vice President of Global Creative Marketing at LionsGate. Prior to LionsGate, Chris led 360 marketing campaigns on some of Netflix's biggest films such as Red Notice, Glass Onion, Dayshift, To All The Boys: P.S. I Still Love You, Dolemite Is My Name, and Over The Moon. Previously, he edited and produced trailers, digital-social, and brand campaigns at AV Squad where he was a part of a ton of award-winning work. Chris came up through the ranks at highly creative shops Mocean, Ignition and Seismic. Over his years on the agency side, he's been recognized with Clio Entertainment and Golden Trailer Awards (and even a CUTTER AWARD - y'all remember that?) for his campaigns for Red Notice, Dayshift, Bright, The 13th, Spy, Top 5, The Drop and many more. Be sure to check out our wonderful sponsors: Audiomachine - audiomachine.com The Golden Trailer Awards - goldentrailer.com Please leave us a rating and review: apple.co/3QYy80e You can find Corey on all the socials @coreysnathan such as www.linkedin.com/in/coreysnathan.

Trailer Park's theatrical division has closed its doors, so we gathered five of the people who were there at the very beginning. Tim Nett, Jim Hale, Ann Mugglebee, Mike Southerly, and Tommy Gargotta trace the company from a single rented edit bay on Cahuenga to a sign you could spot from miles away. Part origin story, part reunion, and a fitting tribute to where it all started. In this episode: One rented room, one Avid. The whole thing began when Tim rented a single bay from commercial editor Jacques Dury, back when an Avid ran around $150K. The crew grew room by room until they took over the building. Culture was the product. Before pleasing clients, the team's first job was making each other laugh. A building so small you could hear every bay (and shout notes through the wall) built a bond that outlasted the company. Scrappy beat safe. A handful of clients took a leap of faith on a brand-new shop run by people barely into their thirties, and that trust launched something that ran for decades. A few lines that landed: "We were all, like, kids. We had no business starting a company." (Tim Nett) "We were laying down train track that we didn't even realize we were laying down." (Ann Mugglebee) "Can you believe we were part of that?" (Tommy Gargotta, on spotting the Trailer Park sign from the freeway) Brought to you by the Golden Trailer Awards and APM Music. goldentrailer.com www.apmmusic.com

Logan Gruidl is Senior Producer at Picture Head and the founder of The Trailer Brief, a bi-weekly newsletter covering trailer craft, industry news, and the campaigns shaping entertainment advertising. After coming up as an AE at Outpost and Grandson, Logan built his finishing expertise at Picturehead while quietly becoming one of the industry's most thoughtful new voices. Key Takeaways: The finishing side of the industry is poorly understood even by people in it. Logan breaks down how color, mix, versioning, and delivery work at a post house like Picture Head. The Trailer Brief was born from a need to stay engaged with the creative side of the industry while doing finishing work full-time. The journalism background helped. AI as editorial tool, not ghostwriter. Logan uses ChatGPT to round up trades and Claude to pressure-test his drafts, not write them. The Uncut Gems trailer was the piece that made him want to work in this industry. Grandson had it on their homepage when he was interviewing. Building community matters. Between Behind the Trailer, TWMT, Jules Levy's Tuesday roundups, and now The Trailer Brief, a real ecosystem of industry education and documentation is taking shape. Standout Quotes: "We're in a cool place right now where the people who founded the industry are still working, but there's also a whole new slate of editors who came up wanting to be trailer editors — and now they're working next to the people who cut the things that inspired them." "I felt like the way to keep accountable was to write about them." "If I can distill it down to four bullet points for someone who just got off a 12-hour shift, and they feel better about their knowledge of the industry — that's a win." "I don't think anyone my age really wants to be a finisher, aside from me." "I was like, okay, time to go to Picturehead — be a smaller fish in a bigger pond." Links: The Trailer Brief: the-trailer-brief.beehiiv.com Logan on LinkedIn: @Logan-Gruidl Thanks to our sponsor: The Golden Trailer Awards: goldentrailer.com Join the Community Leave a rating and review Share the episode with a friend in the industry Subscribe for new episodes every week Enjoying the show? Rate and review wherever you listen. It helps more people find us. Now go do some inspired work.

Monica Brady has spent 26 years doing something that didn't exist when she started: honoring the people who make movie trailers. Co-founded with her sister Evelyn on a boat to Fort Sumter in 1999, the Golden Trailer Awards grew from a scrappy DGA screening room show (running on two Avids, fingers crossed) into the industry's premier celebration of trailer craft. In this episode, Monica traces the full arc of the GTAs, from a pre-broadband era when trailer editors were essentially invisible, to a show that now spans dozens of categories and serves as a genuine career launchpad for aspiring creatives. 5 Key Takeaways The GTAs were born out of necessity, not ambition. Monica and Evelyn weren't trying to build an institution. They were trying to find a trailer editor for their student film and couldn't. No directory, no resource, no awards show existed. So they created one. What was meant to "run on autopilot" is now 26 years in. The show evolves as the industry evolves. From 23 categories in 1999 (including one they couldn't even explain) to dedicated tracks for streaming series, video games, and social trailer bites, the GTAs have always followed the craft. Categories don't get added by committee — they get added when the industry shows up and says "we cut these like theatrical trailers." Music is the most powerful recall tool in the trailer editor's kit. Monica keeps coming back to music as the thread connecting memory, emotion, and ticket sales. Editors who also play instruments aren't a coincidence — music is math, and the pattern recognition required for both is the same muscle. The trailer industry is uniquely positioned for the AI era. Most industries are bracing for an onslaught of AI-generated content. Monica's case: who better to make sense of a flood of footage than people who have spent decades being handed raw material with no script, no direction, and a tight deadline? The trailer editor's core skill is exactly what the moment will demand. Standout Quotes "We sent out some applications, and the rest will run on autopilot. And 26 years later, you're looking at the autopilots." "Who but the trailer industry have had a decades-long start at taking nonsensical footage about a topic they know nothing about — no script, no direction — and crafting a story together?" "These trailer editors are artists. And that is one of the things that sets the human being apart from whatever's coming at us right now." "Everybody help each other. We're here a very short amount of time on this planet. Let's just make the most of it." Links & Resources Golden Trailer Awards: goldentrailer.com GTA 26 — May 28, 2026 | Saban Theatre, Beverly Hills Join the Community Leave a rating and review Share the episode with a friend in the industry Subscribe for new episodes every week Enjoying the show? Rate and review wherever you listen. It helps more people find us. Now go do some inspired work.

Kris McDonald is a Creative Director and Senior Editor at XAV, and the founder of Behind the Trailer — a free educational platform dedicated to helping aspiring trailer editors break into the business and level up their craft. He came up through Open Road and Trailer Park before landing at XAV (which was Project X at the time), where he's built a career cutting campaigns for major studio and streaming titles including The Chosen, The Big Cigar, and Deepwater Horizon. In this episode, Kris traces his path from runner to creative director, reflects on the mentors and moments that shaped him, and pulls back the curtain on what it actually takes to cut a trailer that makes an audience stop breathing. Key Takeaways Say yes to everything — even the soccer video. Early in his career, Kris was asked to cut a highlight reel for a client's daughter's graduation party. He treated it like a studio campaign, stayed late, and poured everything into it. The client loved it, sat him down in the bay, and introduced him to the work of Nick Temple. The lesson: every cut is an audition. Set a goal, then chase it down. After learning that his mentor Adrian finished his first trailer at 25, Kris made it a personal mission to hit that same milestone. He cut constantly, studied obsessively, and hit the mark — finishing his first trailer on The Blind Side right around his 25th birthday. Emotion, story, rhythm — in that order. Kris breaks down the three pillars he builds every cut around, drawn from Walter Murch's In the Blink of an Eye. A trailer can be slick and fast and technically impressive, but without emotion, it doesn't land. Trial and error is the process. When asked about a gut-punch moment of silence in the Deepwater Horizon trailer, Kris was refreshingly honest: he knew what he wanted the audience to feel, but finding the right technique was pure experimentation. Knowing the destination and figuring out the route are two different skills. Behind the Trailer exists to pay it forward. Everything Kris knows, he learned because someone in a bay was willing to show him their sequences and give him notes. Behind the Trailer is his way of making that kind of mentorship available to anyone who wants it — for free. Standout Quotes "I want you to feel like you can't breathe. I know that this is the moment of the trailer where your breath is taken away. Now, how do I do that?" "I cut a lot of bad trailers. I got good at creating an open, but then it would just drag." "Any sort of information I can give back to people wanting to get into this industry — that's the number one goal." "This is my dream job. I'll never stop cutting." Find Kris & Behind the Trailer behindthetrailer.com Instagram: @behindthetrailer YouTube: @behindthetrailer Behind the Trailer Community Discord (free) — discord.gg/wRdGTFwhh2 For aspiring editors looking to break in, industry pros who want to give back, and anyone who just loves trailers Connect Corey Nathan – @coreysnathan Brought to you by... The Golden Trailer Awards – goldentrailer.com Join the Community Leave a rating and review Share the episode with a friend in the industry Subscribe for new episodes every week Enjoying the show? Rate and review wherever you listen. It helps more people find us. Now go do some inspired work.

Before founding Rubber Sole Creative, Stav Ozdoba came to the U.S. with one goal: become a filmmaker. Within months, he was in meetings to direct a feature. Not long after, he learned just how brutal that path could be. What followed wasn't a straight line. It was a pivot. From indie films to editing weddings. From teaching himself Final Cut to landing at Sony. From cutting sizzles and promos to leading teams and eventually building his own creative shop from the ground up. In this episode, Corey and Stav trace that journey and get into what actually sustains a career in this business. Not just passion, but craft. Not just ambition, but clarity around what you're truly good at. They also dig into how storytelling changes across platforms, why "added value" creative matters more than ever, and what it really takes to carve out space as an independent in a crowded, evolving industry. Calls to Action Follow Stav Ozdoba and Rubber Sole Creative on LinkedIn Visit: rubbersoleav.com Like what you hear? Leave a rating and review Follow Corey: @coreysnathan across platforms Subscribe for weekly conversations with the people behind the work Key Takeaways The path isn't linear, and that's the point Stav arrived in LA aiming to direct films, but the reality of the industry forced a pivot. Editing became the lane where his instincts and abilities aligned and ultimately opened more doors than chasing directing ever did. Follow what you're good at, not just what you love Passion alone isn't enough. Stav makes a clear distinction between what you enjoy and what you can consistently execute at a high level. The sweet spot is where skill and interest meet. The edit bay is the real classroom Early on, Stav learned by proximity. Watching other editors. Asking questions. Absorbing instincts. Not formal training, but immersion in the craft. Story is the constant, format is the variable Whether it's a trailer, a sizzle, or a social cut, the job is still storytelling. The platforms change. The audience behavior changes. The need to connect emotionally does not. Underserved work is often the biggest opportunity Rubber Sole was built around doing the work others overlook. Behind the scenes, sizzles, added value pieces. Done right, those pieces don't just support campaigns, they drive audience interest. Relationships still matter more than tools Even in an era of AI and rapid change, the business still runs on trust. When stakes are high, people call collaborators they know can deliver. Creative ownership requires risk tolerance Leaving Sony to start Rubber Sole wasn't a calculated leap with guarantees. It was a bet on craft, relationships, and the belief that great work would create opportunity. Standout Quotes "I stopped following my passion and started following what I'm good at." "You're always telling a story, no matter the platform." "If the work is undeniable, the room will open." "We're not competing on price. We're competing against average." "Sometimes if you don't get your dream job, you have to create it." Connect Stav Ozdoba – rubbersoleav.com Corey Nathan – @coreysnathan Sponsors The Golden Trailer Awards – goldentrailer.com Mesa Wealth Management – mezawealth.com Join the Community Leave a rating and review Share the episode with a friend in the industry Subscribe for new episodes every week Enjoying the show? Rate and review wherever you listen. It helps more people find us. Now go do some inspired work.

Before Benj Thall was cutting trailers at some of the most influential shops in the business, he was a working child actor starring in Disney's Homeward Bound films alongside legends like Leslie Nielsen and Ned Beatty. That early life on film sets didn't just give him screen credits — it gave him a love for every corner of the craft that eventually led him behind the camera, through film school at USC, and into the edit bay. In this episode, Corey and Benj trace a career that spans Global Doghouse, Harley's House/Ignition, Mojo, and Monster, and dig into what it means to carry a trailer editor's sensibility into feature film cutting. Benj also shares the story behind Monument, the political thriller starring Jon Voight and Joe Mazzello that he edited — a deeply personal project that connects his love of storytelling, his actor's instincts, and his late father's memory. Key Takeaways The edit bay as classroom. Benj's early days at Global Doghouse meant literally knocking on Kevin Childress or Doug Brandt's door to make dubs — and using every excuse to watch them cut. Proximity to great editors, not formal training, was the real education. Emotional truth is the through line. Whether cutting a two-minute trailer or a two-hour feature, Benj is always hunting the same thing: the moment an audience doesn't know what comes next. That instinct, sharpened over decades of trailer work, is exactly what he argues trailer editors bring to features that classically trained film editors often don't. Shops shape artists. Global Doghouse and Harley's House weren't just workplaces — they were creative environments that challenged editors to push against convention. Benj credits the culture at both shops, as much as any individual mentor, for forming his aesthetic. Knowing when you're too close. On Monument, Benj cut his own trailer for the film he edited — then pressed the producers to bring in a second editor because he recognized he was too close to the material. That kind of self-awareness is rare, and he makes the case for why it matters. Trailer skills are transferable — and increasingly valued. From working with stems and sculpting music in the rough cut to getting creative out of under-covered scenes, Benj sees a real and growing appetite for trailer editors in feature post. The hustle is different, but the toolkit is more relevant than ever. Standout Quotes "It's gotta be those quick moments of emotional impact for me." "Different parts of a movie are gonna speak differently to everyone. You're looking for those universal moments that speak to all of our humanity." "I've fallen in love with cutting features. If you've got a two-actor scene, the third actor is the editor." "I pressed the production — we need to get another look. I am too close to the material." "To probably my financial detriment, I've never been locked down. But for a creative, it's about staying open to opportunities that might come." Connect Benj Thall — www.benjthalldirector.com MONUMENT, the movie — www.monument.film Corey Nathan — @coreysnathan on all platforms Sponsors Meza Wealth Management — mezawealth.com The Golden Trailer Awards — goldentrailer.com Join the Community Like what you hear? Leave us a rating and review! Connect with Corey on all platforms @coreysnathan Subscribe for new episodes every week and keep up with the world's best trailer creatives! Enjoying the show? Rate and review wherever you get your podcasts. It really does help people find us. Now go do some inspired work.