You Have To Come And See It Trailer

[Abigail Tyrie]

reallysorry to hear of your experiences. i just discovered this show on netflix in the last year or so and can honestly say i prefer the early seasons when ALL of the original cast was together (including Cory and Trevor). Apparently, like in All else, TPB is governed by the mighty dollar and apparently doesnt mind sacrificing quality acting talent in the process.

I read that he was coming back but he doesn't seem to have come back, Cory did in the end. I haven't watched the last few seasons as they got less and less funny. Also seeing them all get fat was a bit depressing.

And the drunk and on drugs fun time hour or whatever it was called was abysmal. I don't think I even finished the episode,

Hi,

I just recently got turned onto TPB, and I love it. Cory and Trevor are great and once I get passed season 6 I am sure you will be missed. Although I appreciate the time it took you to write all of this, and I am sorry that you had such a negative experience in your young life/career. I am disappointed that you come off as not being appreciative at all for the opportunity. There are kids your age that would welcome the chance to make any type of money, let alone the notoriety. Remember, every chance is an opportunity. Count your blessings love, and good luck in all you do.

all that hate and Swearing you decided to write above..... you're definitely American, I just hope that that isnt the extent of your vocabulary because their is no reason to be talking like some high school bully.....

Registered just to make a comment to this. This honestly explains all the way i felt about trailer park boys while watching it. The first three seasons were great. I remember watching it when it first aired on showcase and I was way too young, but I knew people like the people in that show. It felt real. The trailer park boys is the only show i felt became so cartoonish it became a literal cartoon. It sucks reading about the way the cast and crew was treated on the show. I never knew why Cory and Trevor left the show, I'd stopped watching it a while before then but i remember reading about it when it happened. It's really too bad what happened to the show. I remember the first few seasons being amazing. I hadn't really seen anything like it at the time and it portrayed greasy lower class Canadian life really well. But the quality died fairly quickly. At least I know why now. I always kinda wondered what the hell happened.

So how did a show about a group of petty criminals who never leave the trailer park, shot to look intentionally shitty and made with a tiny budget, become one of the biggest, most beloved comedies in the world?

MIKE CLATTENBURG (SERIES CREATOR): I was watching a lot of documentaries, including Salesmen by the Maysles brothers. But it was COPS that really caught my eye and inspired me. It was true Cinma vrit. I loved how it was shot.

MC: In 1998, I made a black and white film starring JP and Robb called One Last Shot. It was about two guys falling in love and moving to Vancouver to grow dope. It also starred John Dunsworth as a drunk pet shop owner.

MC: I hired Mike Smith to do sound on the first TPB film. I was over at his house one night and he had these thick glasses. He put them on and did this sweet voice and I really liked it.

MIKE SMITH: My girlfriend at the time was in Texas visiting family and they went to an estate sale and she found these glasses. They were 50 cents, and she knew that I would think they were funny because they were so thick, so she bought them as a joke. There was a picture of the old lady who the glasses belonged to, too. She only had 50 cents on her, so she bought the glasses but not the picture. I would love to have that picture.

LM: We realized that we had lightning in a bottle after we started seeing first cuts. It was outrageous but it was really funny, hysterical television. All the guys were equal collaborators in creating their characters and writing their parts. It was an incredible ensemble.

MC: We tried to crack the US market during seasons 1-7. Every US broadcaster took a close look but they all steered clear. Some found the Maritime accent as thick as an English accent and tough to understand.

LM: I think the issue was it was a little rough and tumble for American television. It really needed a home that allowed the language, subject matter and spontaneity of the show to breathe.

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This article delves deep into the world of trailer music, bringing in the combined wisdom of the major Hollywood studios, Hollywood trailer houses (independent ad agencies who create the trailers for the studios), trailer music libraries, who license the music to the trailer houses, and trailer music composers, who write the music for the trailer music libraries. Along the way we will also take a look at the wider picture: where trailer music came from, and how it is also used in TV and adored by fans around the world.

Apart from library music, other options for trailer editors are commercial music (music released the old-fashioned way by artists through record labels) and custom music especially created for the trailer.

Commercial music can be great, but is expensive and hard to clear, while custom music is also expensive and can be slow to produce. This means that ready-made, pre-cleared and lower-priced library music is often the best option for busy and budget-constrained editors. The same tensions apply with trailers, which is why library music is the most common option for trailer editors.

After 2010 a new generation of trailer music libraries came along including C21FX, Position Music, redCola, Dos Brains, Really Slow Motion, Colossal Trailer Music and my own Gothic Storm labels. Thanks to the open-mindedness of trailer house music supervisors and our start-up energy, us newcomers have staked out a successful presence in modern trailers alongside those established greats.

With strict security measures to avoid hacks, trailer house editors are cut off from the Internet behind firewalls, meaning that the only way your trailer music can get to the editors is via the all-powerful music supervisor, a gatekeeper who not only suggests what tracks to use, but controls what music goes on the internal network servers that can be accessed by the editors.

Agus Gonzalez-Lancharro, owner of the trailer music library Really Slow Motion, also steers clear of excessive trend-following: What really counts is that music offers certain elements that are easy to cut with. We can go on periods where the mood requested is dark, or they need a certain element throughout that creates tension, or they just want a cool signature sound, or the good old pop cover in a trailer fashion... All these trends will keep coming in cycles and nobody is going to put the industry upside down with the new Coca-Cola formula.

Composer takeaway: Trends can change quickly, so do you stick to doing what you love and risk being left behind, risk seeming like a directionless follower by trying to catch trends, or risk getting nowhere by unsuccessfully trying to set trends? It starts to seem impossible if you over-think it, so the best advice is to either do what your library publisher asks you for (assuming they have good information and intuition), be inspired by something you hear, or follow your own ideas, execute them well and hope that quality rises to the top.

Dan Graham has composed trailer music since 2004 and started a series of library music publishing companies from 2010 including Gothic Storm Music and The Library Of The Human Soul. He also co-owns Gothic Instruments, the sample library developer of the Kontakt-based Dronar, Sculptor and BeatTrix series.

OK.... I just calculated the registration fees for my 1959 18ft Kenskill SC. for here in Riverside, California. Now keep in mind that this was the result of some trading and no cash ever exchanged hands for this trailer. I basically traded an old aluminum boat, motor and trailer for this Kenny. I value the Kenny at $300 as is. Nothing worked in it when I got it.

I got this trailer with a bill of sale only but that wasn't the deal. The original deal was for the person I got it from to take care of the registration but now has backed out of that part of the deal and they have already sold the boat. So I'm stuck with all the fees which total out to a nice $664 to register this trailer including lots of fees and penalties. I not only pay penalties to the state of CA but also to the CA Highway Patrol. $180 to those idiots for what reason I do not know.

Once registered I will have approximately $1150 invested in the trailer so that's not really too bad. But I had not planned on having anything invested in it from a cash out of pocket point of view at this time. Right now I should be starting at zero.

Live and learn I suppose.

When I bought mine they gave me a card for the DMV and a proof of purchase (bill of sale). You need to assemble it and bring it to the DMV for inspection. I live in Nevada, but I don't expect it to be that much different. I still need to register mine, but I lost the paperwork.

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