We at The Film Agency are thrilled to share that The Fisherman (by Zoey Martinson) trailer, commissioned by our long-time client La Biennale College and produced by Luu Vision Media, has been nominated for two Golden Trailer Awards: Best Foreign Comedy and Most Original Foreign Trailer.
We couldn’t be prouder of Iñaki Navarro, our Art Director and Editor who was behind the creative and editorial direction of this standout piece. He was under the strategic creativity of our Creative Director Espinar Gabriel and with the collaboration of our Think Visual Team.
Below, we talk to Iñaki about the creative process behind the trailer, the challenges of editing comedy, and how a talking fish ended up stealing the show.
What were your first thoughts about the film?
The film totally won me over the moment they said there was a talking fish who plays poker. It instantly became my favorite movie of the year—no doubt about it. That’s when I realized I could make a really fun trailer!
But even though the fish was the main selling point, here’s a fun fact… I don’t like fish. So when they pitched me a film where the main character is a fish… I had to face my fear, my phobia of fish.
So how did the project arrive at you? And in what state?
We’ve been working with the Biennale College for quite a few years now, and the process has always been strategic and creative in equal parts. Espinar Gabriel reads the script and assesses the project when it’s still in an early stage. I usually get the finished film.
From there, I do a first viewing and then we put together a proposal for the client. Once they approve the general direction of that first vision, we go ahead and edit a draft.
How many versions has there been, and what was that first version like?
It was about five versions… but honestly, from the very first cut you can already see there were barely any changes. We just had to trim it a bit because it was two minutes long, tweak a joke or two, but the core structure was already there in the first version¹.
We already know that the talking fish drew you into the project, but how did you use all the other important elements of the movie in relation to this major selling point while still maintaining a comedic tone?
Okay, taking the fish out of the equation, it’s about classic old guy who’s forced into retirement. It really feels like a typical misfits movie. So I leaned into that a lot—these more ordinary people—as a way to contrast with a talking fish who’s super politically incorrect.
Could you tell us more on how you used this contrast?
Since the film is so classic in its structure, the fish really stands out. So it actually worked great for me to play with that contrast—like, you’ve got this group of misfits, and within that group of misfits… There’s a talking fish.
What difficulties did you encounter when translating the film into such a short format? And what were your biggest achievements in doing so?
What was hardest for me in this film—and it still hurts today—was having to cut so many jokes. Imagine an hour and forty minutes full of jokes, and then having to pick just the best ones. I narrowed it down to, like, the top ten. And not only that—they had to be really good and also help tell the story. So yeah, I think that was the biggest challenge: choosing the best jokes, deciding what to cut. I even have a five-minute cut that’s just jokes—just joke after joke.
Another tricky thing, especially in comedies, is that a lot of jokes need context—and in a trailer, you don’t have the time, for example in 45 seconds, to set up a joke properly. So you have to be really careful to pick the ones that work without needing too much setup. That was definitely one of the challenges.
Do you think that, as a trailer creator, you bring your own creative vision and direction to the process, much like a director? The movie is already made, but do you still infuse a part of yourself into it?
I think so, yeah—overall, especially when it comes to comedy, jokes are super subjective. Some things will make me laugh more than they will other people, for example… 100% there’s a part of me in that trailer.
What are your expectations for the award?
Expectation? Well, I’ve already cleared a spot at home for a trophy—and another one I’m keeping here at the office… So yeah, another year, two more!
Just wanted to thank Biennale for trusting us all these years. Thanks to my mom, my team… the Atlético de Madrid. I really wish I could be in Los Angeles to receive the award—but I’ll be following from home!
Check other trailers made by Iñaki:
If you’re looking to create a standout trailer with us, don’t hesitate to get in touch!
✉️ info@thefilmagency.eu — we’d love to hear from you!
¹Before we hit the editing room, we always prepare references and structure, alongside, positioning, SWOT analysis, and among other marketing tools.