The ten-part series The Beginner's Crash Course In Film Distribution distills some of the information contained within The Insider's Guide to Film Distribution into a useful mini-guide for independent filmmakers.

Part 3 : Pre-Production As we know, most filmmakers are concerned with the content of their film, first and foremost. But when it comes time to sell the film several other elements in addition to story will be make-or-break factors in whether or not your film is ever picked up for distribution. So what factors will arise in pre-production that distributors will be paying close attention to when it comes time to sell your film?

So you have a story you want to tell. You've already started looking ahead. You've thoroughly done your market research and you have a script that you're sure will knock the distributors dead. Is this enough? Most likely it's not. Distributors see tons of films with great scripts but can only release a handful every year. You need to move forward keeping this in mind. Remember, the distributors have to get people to want to see your movie. It sounds easy but it's not. It takes money and effort. And if they have no selling point, they have no way to get people into the theaters so it makes no sense for them to distribute your film. It's important to cover all your bases cause by doing so you will have a much better chance of reaping the rewards for all your hard work. You basically need to figure out ways to fool-proof it for distributors. But at this stage how?

Casting should always be given serious consideration. So many people throw relatives or friends in as their actors. Most often the film winds up suffering for it. Plus, using professional actors saves you time and money in the end cause not only do they show up prepared, but they actually show up to work. When you work with amateurs, you may find that it's an ordeal to even get them to set. Someone overslept, something came up at the last minute, etc. The list goes on and on. You will find yourself hearing more the-dog-ate-my-homework-type excuses than you can imagine. In general a professional actor, any professional actor, is happy for the work, takes it seriously and wants to do a good job. Their name is going on the end product as well. And when it comes to distributors, using non-professionals could fly in the '90's but it doesn't work anymore. Distributors need a true quality product to sell. When choosing a shooting format shoot on DV only as last resort. Film and HD are still much more saleable formats.

Hiring actors and shooting on film or HD can be expensive propositions, I know. And so much of this is easier said then done. I am fully aware that for most getting that A-list actor is not possible, but keep in mind that shooting high first is in your best interest. As you know, if you've got a "name" actor attached to your project you'll attract investors. All of a sudden, it'll appear to be a potentially lucrative money making venture for them. The idea of playing at major film festivals will then be a realistic one as will the distribution deals, which will follow. With investor backing, all of a sudden you'll see your budget expand and you'll be able to pay a name actor or actors for a few days work and be able to shoot on HD or film. These can be the factors that ultimately get you a "yes" from a distributor.

But even if you don't have a "name" actor, casting well and giving your film a quality look you will have positioned yourself that much closer to acquiring distribution. A "name" actor is not mandatory for film distribution, any distributor will tell you that. But they'll also tell you that it can definitely help. When you've got a name on your film, distributors have a built-in marketing tool. So you can bet they'll be more than happy to attend screenings or view screeners. And giving them a film with a true quality look can be just as crucial at the end of the day.

Now if you don't have an actor's name attached, the pressure is no doubt on to make a better film. You definitely want to use professional actors though, even if no one has ever heard of them, for all the reasons mentioned earlier. And sometimes the lack of a name to sell it actually makes for better, fresher, more innovative filmmaking. You must rely far more on "hook" and the overall look and feel of the film. Whatever you have, capitalize on it to the fullest extent. Some truly clever filmmaking can often ultimately serve you far better than any actor ever could. If you feel you're losing hope cause you don't have a name, just remember how many groundbreaking, successful independent films had no stars to speak of, just a few struggling actors who got their big break off a low-budget indie.

The absolute necessity is to make a quality product, whether your ultimate goal is to acquire a theatrical release, a cable release, or a straight-to-DVD release. Know what the market demands and satisfy it to the best of your ability. It's no problem for a distributor to say "no." They do it all the time. This is a money gamble for them. Indie film is about risks, however, if a distribution executive constantly picks up films that tank, it can literally cost them their job. People tend to be cautious when the livelihood of their families comes into play. If given a choice of releasing your film or putting their kids through college they'd probably choose the latter. Now considering there are real world implications here it's the filmmaker's job to make it hard for them to utter that "no" that rolls off their tongues so easily.

We're no longer living in the '90's. The indie film boom is no more. It's as big a part of our culture as studio films (and you've probably noticed every studio now has an independent film distribution arm.) And with the technology readily available these days, literally anybody can just throw something together and try to put it out for mass-consumption. Distributors know this. They see it all day, everyday. These days you have to be clever to even get anyone to watch your film in the first place. The market is that saturated. By not rushing it and taking the time to put your project together the right way, budgeting accordingly and responsibly and doing your homework and learning the business, you will be infinitely better off when it comes time to sell your film.