UFO (2021)

The latest from J. J. Abrams is a four-part docu-series premiering on Showtime, focusing on a fairly perennial topic in American media: Our fascination with whether or not the power of government, corporations, and the military have colluded to shield evidence of extraterrestrial phenomena from the public eye. Though the trailer never directly references the X-Files, the show is one of the tangible influences underlying this preview (and probably the series UFO as well).

The trailer’s first thirty seconds or so features an effective, if perhaps predictable, mix of ephemeral and mysterious sound design elements. Notice how it briefly ends at 0:30 in sync with the clapper, sonically reinforcing the notion that this series at least purports to be “pulling back the curtain”, regaling us with a sense of authenticity. Of course, whether one believes the docu-series is more aligned with prospective entertainment about UFOs than a serious investigation is another matter. However, that suggestion, aided by the sound design, is all part of the allure.

This aural preamble takes off, literally and figuratively, at 0:35 with fast-paced strings in concert with the image of a jet taking off. At multiple points, the editors take advantage of the opportunity to align sound and image. For example, at 0:46 we see a triptych with aircraft navigation images, and this is complemented both by the rhetorical cadence of the speaker coming through a sound bridge (“was giant, quiet, and was amazing”) as well as low percussive accents. While a small moment, this confluence of dialogue, soundtrack, and visual edit all working relatively in concert is fairly rare, even in trailers. At the same time, the preponderance of voices by witnesses typifies doc trailers.

A blackout at 0:53 is aided by silence in the soundtrack; this is followed by the next segment of the trailer, which intensifies both the music and its synch to the edit. For example, from 0:54-0:56 and 0:58-1:00 we have montages cut to double-time, interspersed by talking heads.

The minor-chord violin arpeggiations are complemented by a steadily rising tone the tension continues to mount; this momentarily recedes in part to help emphasize a key line of dialogue—“people are actually going to believe us now.” The music effectively acknowledges that disbelief, and invites the audioviewer to suspend it.

At 1:18 we reach the third segment of the trailer, now adding soaring, majestic brass to the existing musical arrangement to complement the image of a huge military aircraft in silhouette. The shots here are similar in feel, with a slower-paced cut and an emphasis on sweeping views and wider angles. A second audiovisual blackout occurs at 1:48 to make way for the final line. Notice also how that line—“that world needs to get ready for what’s about to happen”—is delivered with a touch of reverb at the end, to further elevate the sense of intrigue one last time.

UFO arrives on Showtime on August 8th.

— Curtis Perry