Distribution : Making Proof of Concept for Festivals by Georgette Skolnick

Hi, Georgette Skolnick. I’m a Stage 32 Lounge Moderator. I wanted to let you know I moved your post from the Screenwriting Lounge to the Distribution Lounge since it's related to distribution/film festivals and you should get more answers here. Let me know if you have any questions.

Great. As always--thank you for your help, Maurice.

You're welcome, Georgette Skolnick.

Hi Georgette, I run the London Rolling Film Festival and I can tell you that I very much appreciate a short trailer (30-60”) to get the vibe of the film but most importantly to eventually use it to advertise the selected films line up when posting it on social media or giving out press material (also festivals have to advertise themselves). Most importantly, I appreciate to have 2 posters, one landscape and one portrait, to have flexibility on different platforms. If the film is well done, the trailer will show the good quality of the project (sound, colours, vibe, perhaps an intriguing part of it leaving the viewer willing to know more). You write “Did the person/company do EVERYTHING--get actors, costumes, rehearsals, narration, music, scenery, etc? ” so I’m a bit confused if you have shot the film yet or not… usually the trailer for Festivals is something that gets done once you shot the movie. If it is for a script instead, it’s probably more of a proof of concept than a trailer. But I won’t expect that for a script competition to be honest.

Hi Georgette Skolnick. My film is animated, so I didn’t have to deal with actors or costumes. For the poster, I started by researching current film designs and sketching a rough concept myself. Then I worked with a designer who specializes in posters and Photoshop, there were so many subtle details I wouldn’t have caught on my own.

For the trailer, I ended up collaborating with four different editors. The first cut looked great to me, but friends in the industry felt it didn’t communicate the story clearly. The second version was too fast-paced and didn’t give the audience time to absorb anything. The third editor wanted to make it much longer, saying that was the only way to tell the story properly. Finally, the fourth editor managed to cut the trailer in half while keeping the essence intact.

Looking back, I’m really happy I didn’t put all my budget into one person. Splitting it between a few collaborators allowed the trailer to grow and improve over time and I’m very satisfied with the result.

I remember sweating over festival trailers in film school - our professor made us cut so many versions before we got it right! If you're using existing footage, try editing a rough cut yourself first - it'll help you understand what you really need before hiring a pro.

For new footage, keep it simple like we did in school: one strong location, minimal dialogue, focus on visuals.

Alida. Thanks for educating me about a Proof of Concept vs Trailer. I changed my post.

Everyone has such great advice, info. Thanks

If you focus it on a key moment that encapsulates the spirit and key themes of your project you can use it to make a very good case for a TV show, feature or documentary.

Thank you, Ewan. I've learned that what I need is a two-minute proof of concept with 2 posters which costs about $7-9,000. Since this is about my script, I don't know how to make it look like a trailer. I was told there is a website where you can download pieces from films for free, but don't know the name of the website. My idea is to show this POC along with trailers at festivals to generate interest in the script's production. Several people have said they can make a POC, but I don't know which person is the best candidate. And then--- how do I get financing? I'm a senior on fixed income and can hardly afford all the entry fees for contests and festivals. I just feel sending query emails is a waste of time, and what's the point of winning so many contests if they don't lead to production? You just get bragging rights. I need to take my award-winning script into a new direction, and I think that's making a POC. If anyone has another idea, please, please let me know. Thanks

You could make a post on the Job Board, Georgette Skolnick. www.stage32.com/find-jobs Someone might charge less to make a two-minute proof of concept and two posters.

Emma Smith wrote a blog you might be interested in. It’s called “Unlocking the Secrets of Film Grants: The Ultimate Guide Every Filmmaker Needs!” (www.stage32.com/blog/unlocking-the-secrets-of-film-grants-the-ultimate-g...).

Stage 32 also has other Financing blogs (www.stage32.com/blog/tags/financing-85).

Georgette Skolnick I echo Ewan Dunbar 's advice - focus on one or two emblematic moments that speak to the heart of your story — either a key emotional turning point or a scene that reveals the world’s rules/tension. You don’t need big production value — just a clear vibe/tone, good acting, and direction that will allow those elements to come through.

Georgette, it's so great to be here asking these questions! Are you going to be directing it yourself, or are you also looking for a director? Identifying the key people to help you get this made (Director, producer...) can help you get the rest of the pieces together. It also might be worth looking into grants that you may qualify for. Good luck! :)

Heather, no, I don't know anything about directing or even how to get financing. I just have this great award-winning script, and I need a POC to announce it needs someone to produce it.