After doing this for awhile, Pixar knows exactly how much to show in a trailer to get people to the theater. Just the setup for great Pixar films would be the absolute for most other studios. The superior Pixar films can—and do—have the most content withheld in their trailers.
The trailer for (and title of) “Finding Nemo” promises an undersea adventure of parent searching for child. It conceals the significant portion of the film that takes place in the saltwater tank at the dentist. Notably, this setting is the home of Nemo for most of the movie. It also introduces nearly half of the speaking roles in the film. The more limited setting* allows for sharper action and a stronger definition of character traits.
Not surprisingly, “Cars,” the least-interesting Pixar film to date, has a revealing ad campaign. If not explicitly stated, the main character’s arc can be inferred from the trailer: a race car learns to slow down and appreciate life in a small town. That’s it, really—the setup is the movie.
“Wall•E” is the apotheosis of the ratio of trailer content to film quality. A hint of the first act’s story is visible through a trailer dominated by simple character traits. No mention is made of the melancholic tone of the film or of the Axiom. This ship, carrying the infantile remnants of humanity, is where a large portion of the movie takes place. Upon first viewing, “Wall•E” moves in unexpected, lyrical directions.
Pixar was once the only producer in the now-crowded market of computer animated features. Its consistency has allowed it to have faith in potential customers.
*Almost anything would be more limited compared to the ocean!
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