By Wade Jackson, Founder of Manor House Films 

A slick trailer is the ultimate marketing tool in selling your film—and it could be the ultimate tool in getting your film made. 


Many filmmakers rely on mood boards or a solid ‘one page’ for their narrative pitches, but the  most effective tool I’ve created in getting people’s attention is a proof-of-concept trailer that  represents the feel and tone of my intended vision. The ability to show rather than tell is very  effective, and it’s much simpler to take an Ipad to a meeting or email a link and say “this is it,  this is what I’m going to do”. It’s the proverbial putting your money where your mouth is.

Only For Blood from Manor House Films on Vimeo.


There’s plenty of good ‘clip-o-matics’ out there—Rian Johnson’s for Looper comes to mind but presenting your own footage will show your filmmaking abilities far more than your skills  as an editor of other’s content. To this point, I originally cut a clip-o-matic for this project from found footage, but it didn’t have the same impact in expressing what I was looking to create  on the intended budget. The clip-o-matic did, however, serve as a loose structure of how I was going to cut my pitch trailer together. 

-I’ve had distributors contact me asking to ‘see the film’ and if it’s for sale, not realizing the trailer is a pitch for  fundraising and not actual content from a finished film. As a result, my pitch trailer has led to partnerships with  other creatives and long-term relationships with distributors. 


I would argue it’s fairly easy to conceive what shots and lines of dialogue you will use in your  pitch trailer, even if you haven’t perfected your screenplay yet. For example, if you write a  short precis for your film, it will become fairly apparent what visual information is necessary  to convey your story in a short timeframe. 

In my case, my story is about two brothers fighting for survival when a meteor triggers a local  epidemic (written before Covid!) and their search for answers about the meteor as authorities

pursue them. It’s set in a port town and their escape leads them across dangerous wilderness terrain. 

From these two sentences, I knew I had to: 

  1. Show a meteor. 
  2. Allude to the idea of two brothers fighting for survival. 
  3. Show conflict—the idea of the brothers being chased in pursuit of answers. 
  4. Since there is some kind of mysterious outbreak occurring in the story, I also needed  visuals to show disease or sickness (face masks / medical individuals, etc). 
  5. Establish location, time, and geography of the story. 

From here you can pull key ‘moments’ from your script or treatment and plan your production  as you would for any standard shoot. 


My intention for the real film is for it to be an emotionally grounded sci-fi with some thrilling  edge of your seat moments. I therefore knew the feeling I wanted to create and since it’s a  trailer for selling my brand, I also knew I had to include some dynamic moments to  compliment the drama, and that it would all have to fit into a timeframe of about 90 seconds. 

If you’ve ever directed any advertising content with a set timeframe, you’ll know the  importance of determining how a shot will be used in the final edit. If you have 3 seconds to  convey a scene, then likely you will not select a slow track-in on a character but something  much more fast-paced and visceral. Plan shots accordingly.

I once remember hearing Spielberg in an interview say how he knows when he reads a script  what shots will end up in the trailer and spends extra time to get those shots right—and I  suspect that’s the same for a lot of directors, so it’s good practice to think about how you’re  going to market your story when you’re making it. 


This is a good rule for every production, but since a pitch trailer is for raising funds and not an actual sellable product, I tried to be extra vigilant in cutting the fat around the production. This went for recording dialogue, which I thought might slow me down and would end up being  discarded when I cut everything together. Most of my trailer is MOS by design, and driven by  VO, which kept things simple. Most likely, you’ll have some lines of dialogue from the script  that will be perfect exposition for the audience and make for a good VO if you choose to go  this route. To give you an example of our budget, the VO in my trailer is recorded on an iPhone showing you don’t need to go overboard on gear for this type of presentation. 


In my trailer I sprinkled some visuals to allude to intended scale. If you don’t have extensive  set-pieces in your story, think about what visuals might be important for establishing and  anchoring time and place. I set my story in a fictitious port town in Alaska. I decided I needed  some boats and mountain aerials for my ‘embellishing’ moments. Since I started the trailer  before finishing the script, some of my establishing shots are of Seattle, but that’s since  changed in the story which is now set in a smaller port town (changes I’ll discuss shortly).

It’s also OK if the visuals don’t directly represent scenes in the intended film. The trailer is for  pitching and doesn’t have to be rock solid in its visual representation. For example, I have an  elaborate boat escape in my screenplay but substituted that with my characters looking like  they’re facing danger in a car (with my cam operator representing authorities).  


Just like you wouldn’t go out and shoot a film without a script or some sort of foundational  treatment, you shouldn’t shoot the pitch trailer without knowing how you’ll present or stitch it  together in its ultimate form. Often, if I didn’t know where to start, I would simply start by  placing the moments I selected from the screenplay in order and then spent a lot of time  thinking about music to do most of the heavy lifting for my pacing and emotive tone. Knowing what music track you will use is really helpful to determine how much content you must  gather. If you’re making an action versus a period film, then the requirements will probably  dictate the path you’ll take with an action music track likely requiring more set-ups. 

I was fortunate to have a composer friend, Daniel Suett, compose a track that represents  some qualities we want in the real film—but ultimately there are plenty of places to find music to help orchestrate your trailer structure. 


An unintended side effect of shooting the pitch trailer was how effective it was in exposing  holes in my original screenplay. It’s basically like designing a 3D prototype for manufacturing  and then having the ability to build some iterative models before committing to a final design. Taking this into consideration, I ended up undertaking many subsequent revisions to the  screenplay to better represent what I thought was working visually in the trailer, or sometimes push it in a completely different direction. For example, I switched the story’s location from  Seattle to a small port town based on discussions with the actors.  

Overall, the pitch trailer ended up being an amazing litmus test in developing what was good  and bad in my initial idea and create a superior story. You can get some of these benefits in  doing physical location research while writing a screenplay, but working with actors while  you’re developing characters and seeing it up on screen is really impactful in your decision-making process. 

– I originally shot scenes with other characters that I thought were key to the film, but when I added them to my pitch trailer, the tone didn’t feel right in the grander scheme of what I was going for and they ended up getting  cut from my screenplay.


Filming your own pitch trailer might seem like a lot of effort compared with a traditional pitch  but if you’re an in-experienced feature film director or producer then it’s a solid way to reinforce to your investors, be it family or friends, or private equity sources, that you can back  up your vision in real terms. In my case, I haven’t made this film yet, but it did go under  contract with an established production company before the Covid lockdown hit. More  importantly, based on the qualities of my proof-of-concept, it has helped me raise money for a separate feature film as well as winning multiple projects for my production company.

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