I have worked on numerous films that have been sold to distributors simply on the basis of the trailer. Granted, these films also had great production value, and in some cases name actors, but the trailer above all else could be credited for securing distribution.<\/p>\n
![\"Film](\"https:\/\/pbblogassets.s3.amazonaws.com\/uploads\/2015\/04\/MC.jpg\" "\\"Film")
<\/p>\n
It\u2019s not uncommon for a distributor to commit to purchasing\/licensing a film without actually seeing it in it\u2019s entirety.<\/strong> In many cases at film markets, distributors, sales agents and other industry pros don\u2019t have the time to watch films in their entirety before making an offer or securing a deal.<\/p>\n Naturally, they have to rely on the trailer as a means to represent what the film is capable of. But regardless of whether you want to cut a great trailer as a means to lock in a distributor, or simply to promote the film\u2019s release – it\u2019s critical that the trailer you cut is impeccable.<\/strong> A bad trailer can absolutely ruin the success of a film, and there is really no excuse not to be able to cut a strong trailer from a feature film. All it takes is a little practice and some attention to detail.<\/p>\n On Hollywood level feature films, the editor of the film obviously isn\u2019t cutting the trailer. It\u2019s going to a dedicated editor, usually working at a post-company that only focuses on trailers and promos. The reason being that trailer editing calls for its own distinctive approach: On your indie film, you may need to edit the film and the trailer yourself<\/strong> based on budgetary limitations, and that\u2019s perfectly fine. You just need to treat those two parts of the process as independent projects and tap into different skill sets to get the job done. That can be done in a straightforward way by following these five\u00a0film trailer editing tips<\/strong>:<\/p>\n If you are cutting down a 100 minute film into a 2 minute trailer, you have no reason to use anything but the absolute best footage.<\/strong> This may sound like a no-brainer, but many indie filmmakers are afraid to use their best material in the trailer, as they don\u2019t want to give anything away. I\u2019m not suggesting that you give away major plot points or the twist at the end of your film, but don\u2019t be too precious with your material.<\/p>\n Remember that the best footage will draw the biggest audience, so make sure that every last shot and scene that you show represents the best the film has to offer.<\/strong><\/p>\n Although you can certainly get away with using scenes from any part of your film, I highly recommend that you focus primarily on the first half. Act 1 and Act 2 in most films contain the best trailer moments. Act 1 is the setup, so naturally you are going to want to include enough scenes from there to help ease the viewer into your story.<\/strong><\/p>\n And the beginning of Act 2 typically focuses heavily on the premise of your film – or the hook, which is what is going to sell tickets. You want to give away enough of your film that it accurately represents the story, but not so much that the viewer feels like they\u2019ve seen it all. That\u2019s why focusing on the first half is usually a good rule of thumb.<\/strong><\/p>\n The trailer for Alfonso Cuar\u00f3n<\/a>‘s Gravity<\/a><\/em> does a good job of focusing on the film’s early beats. Check it out:<\/p>\n1. Only Use the Best of the Best<\/h3>\n
![\"Film](\"https:\/\/pbblogassets.s3.amazonaws.com\/uploads\/2015\/04\/cars-edit.jpg\" "\\"Film")
\nImage from The Mouse Castle<\/a><\/p>\n2. Prioritize the First Half of the Film<\/h3>\n