In previous articles and podcasts, I've talked about the business of filmmaking, the development phase, selecting the story, understanding what buyers want, seeking distribution as early as possible, and obtaining a deliverables list during development.

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Now I'd like to move into the next phase: pre-production.

 

This is where the filmmaker begins turning the project from a screenplay and a plan into an actual film.

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As I walk through the process, I'll explain it from the perspectives of a producer, screenwriter, and director. I'll assume that, as an independent filmmaker, you're taking on all three roles.

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It's an area I know well. I've written, produced, and directed feature films that I financed by selling my intellectual property to production entities and negotiating separate deals to produce and direct those projects.

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Breaking Down the Screenplay

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When I'm ready to move into pre-production, I begin by breaking down the screenplay myself. This is a preliminary breakdown, not the official production breakdown. I simply want to examine the scenes, get a general sense of how long they might take to shoot, identify the locations, and note any special considerations, effects, or props that may be required.

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I also read the screenplay as a producer, not as a writer or director. Not yet. I'm looking for potential red flags and anything that might create problems during production. Once those issues have been addressed, I lock the script.

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Locking the script establishes the working production version. If changes are made afterward, the revised pages are identified using colored revision pages rather than the original white pages. This allows everyone involved to recognize what has changed.

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Once the production draft is locked, I hand it over to the Unit Production Manager (UPM) and First Assistant Director (1st AD) so they can conduct the official breakdown and begin developing the shooting schedule. Locking the script doesn't mean changes are forbidden, but my recommendation is to keep them to a minimum and make them only when necessary.

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I speak from experience. On my own projects, I'd put the screenplay down and declare it locked, only to find myself wanting to revise it again during pre-production. It wasn't always necessary. Sometimes those little changes were simply things I wanted to do rather than things the film actually needed.

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But that's how creatives work. We're rarely satisfied with what we've created. I can't remember who said it, but when asked which project was their favorite, many creatives have answered, "My next one." I think there's some truth to that.

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The schedule and budget are developed together and inform one another. The schedule helps determine how many days actors are needed, their rates and associated costs, how many locations are required, and many other production expenses. As the schedule changes, the budget may need to change as well. Both will likely go through several revisions before they're finalized.

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One point worth clarifying: the UPM and 1st AD have different responsibilities. The UPM oversees the operational and logistical management of the production, while the 1st AD coordinates the shooting schedule and manages the day-to-day execution on set.

 

While these professionals begin handling the logistics of pre-production—contacting crew members, reviewing resumes, securing locations and permits, coordinating with city departments, and addressing guild and signatory requirements—I turn my attention to the screenplay as a director.

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Reading the Screenplay as a Director

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My first read as a director is simply for pleasure. I want to experience the story again and see what emotions it stirs. Since I also wrote the screenplay, I've already imagined the scenes, but now I'm approaching them more from the audience's perspective.

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The question I ask myself is: What will the viewer actually see on screen?

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The second read is more technical. I go through each scene and imagine the set, production design, mood, lighting, characters, and blocking. I jot down notes and sometimes even create a simple stick-figure storyboard in the margins of the screenplay.

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Then I develop a shot list for each scene. The timing and distribution of shot lists will vary depending on the production and the complexity of the scenes. The important thing is that the director's plan is communicated to the appropriate department heads early enough for them to prepare.

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Working With the Creative Team

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During pre-production, the director needs to meet with each department head and discuss the scenes in detail. From my experience, these conversations are essential. Department heads will have questions about set design, wardrobe, special effects, props, and other elements of production.

 

It's better to address those questions before the cameras roll.

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For example, during my meetings with the Costume Designer, she would present a look book with wardrobe suggestions for the characters. We'd discuss the choices, and once I approved the direction, we'd move forward with fittings for the cast.

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The same process applies to the Production Designer and the other department heads. The director, department heads, and production management team must coordinate and maintain an open line of communication. There will always be questions and occasional changes once production begins, but everyone should have a clear understanding of the overall vision.

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And yes, you're the director, writer, and producer. You're the person who brought the project together and guided it through development. But now it's time to hand the baby over to other creative people who can enhance the project. Be open to fresh ideas and incorporate them when you feel they'll make the film better.

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During development, you may have worked largely on your own, consulting with your lawyer and CPA when necessary and making most of the creative and business decisions yourself.

 

Pre-production is different. You're building a team, and the project becomes a collaborative effort.

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Casting and Working With Actors

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The next major task is casting.

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You may already have your number one and number two choices for certain roles in mind, but if those deals haven't been finalized, now is the time to move forward. Time is often limited.

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If you're working with a limited budget, your pre-production period may be relatively short. A larger budget may allow for a longer preparation period. Either way, you should involve a casting director early, even during development if possible.

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The casting director helps you find the right actor for each role. Your responsibility as the director is to help that actor bring the character to life.

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Your casting director should be familiar with the applicable SAG-AFTRA auditioning rules and related paperwork, including audition sign-in procedures. But you should understand the process, too. If this is your first feature film, discuss the audition protocol and documentation with your casting director.

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These days, many actors audition through self-tapes. Some casting directors prefer them because they save time, while others favor in-person auditions. I've worked on projects where actors submitted their first auditions on tape and others where they auditioned in person.

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My preference has always been an in-person audition. There's a human interaction that gives you a better sense of the actor's personality. You can also redirect the actor on the spot, which can be very useful when evaluating their range and ability.

 

That's my preference, of course. Whatever approach you choose, make sure you and your casting director agree on the process and the necessary paperwork.

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Your interaction with actors during pre-production may be limited to auditions, meetings, and perhaps a table read of the screenplay. You may also encounter situations involving an "offer only" actor. This means the actor is not required to audition. Their body of work serves as a reference for their range and acting ability.

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I had several offer-only actors on my projects. Most accepted the roles based on the screenplay and the details of the offer. But I did have one situation where an actor requested a lunch meeting to discuss the character.

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The roles were essentially reversed. The actor wanted to interview me and determine whether they trusted me to direct them in the film. It happens. The meeting went smoothly, and by the end of lunch, we had established a good rapport and mutual respect. The production attorney sent the written offer to the actor's representatives, they accepted, and we had a great experience shooting the movie. It's always good when it works out.

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The reverse can happen, too. A director may want to meet an offer-only actor to determine whether they can work together.

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As you become more established in the industry, relationships built on trust and mutual respect can make these meetings more of a formality.

 

The same is true when hiring the UPM, cinematographer, Production Designer, and other department heads. Remember, these professionals also have reputations to protect. The interview process works both ways.

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The Director, UPM, and Cinematographer

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The UPM is crucial to the project. The director, writer, producer, and UPM need to be aligned on the film's objectives and the practical realities of making it.

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The relationship between the director and cinematographer is equally important. During pre-production meetings, you'll discuss the visual language of the film: its mood, tone, colors, framing, lenses, camera equipment, and lighting package.

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The director communicates the emotional experience of a scene, while the cinematographer translates that vision onto the screen through photographic and technical decisions. Both need to understand what the other is trying to achieve.

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Why Location Scouting Matters

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Another important part of pre-production is location scouting. Whenever possible, bring the department heads whose work will be affected by the location. That may include the Director of Photography, gaffer, production sound mixer, Production Designer, UPM, 1st AD, and others.

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A location might look perfect to the director and producer, but that doesn't mean it's practical to shoot there.

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I once shot a feature film in Malibu at a beautiful house on the beach. The ocean was picturesque, and the house seemed perfect. The problem was sound. Pacific Coast Highway was on one side of the house, and the ocean was on the other. It was a production sound mixer's nightmare.

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That's why having the sound mixer on the location scout is so important. The DP and gaffer were also essential because the house had very large floor-to-ceiling windows, which created lighting challenges.

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We ultimately shot there because the budget was limited and we had no alternative. We dealt with the sound problems by bringing the actors back for ADR during post-production.

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A little more preparation during the location scout can save considerable time, money, and frustration later.

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The Business and Administrative Side

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There are also important business and administrative responsibilities to address during pre-production. The schedule and budget need to be finalized, and cast and crew agreements must be prepared and executed in a timely manner.

 

Your production attorney should handle the appropriate legal documents, while the UPM works with the attorney on completing and submitting the necessary paperwork to the applicable guilds.

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You may also hire a payroll and residuals processing company to work alongside the production accountant. Make sure you consult the appropriate legal, accounting, and industry professionals regarding union requirements, local and state regulations, federal filings, reporting, and any other obligations that apply to your production.

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Finally, as I've emphasized in previous articles, request a distribution deliverables list for your particular production from an experienced sales agent or distributor. Review it carefully with your legal and financial advisors.

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Don't simply put that list away after receiving it. Keep referring to it during pre-production, production, and post-production. Some delivery requirements can influence decisions made long before the film is completed.

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Bringing It All Together

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Pre-production is where the pieces begin to come together. The creative vision, screenplay, cast, crew, schedule, budget, and business requirements must all work in concert.

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Making a movie is a collaborative effort. Every person on the cast and crew contributes to the finished film, and the more prepared everyone is, the better positioned the production will be when the cameras roll.

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There's a familiar saying that if you do your due diligence during pre-production, production should be a breeze. Everything should run smoothly and almost be on autopilot.

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Is that always the case? Not at all. No matter how well you prepare, filmmaking will always present unexpected challenges. But good preparation gives you a much better chance of handling those challenges without losing sight of the film you're trying to make.

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About the Author

Luc Saber is a filmmaker, screenwriter, producer, director, author, and story and production consultant with more than 30 years of experience in the film business. Through Aspiring Hollywood, he shares practical insights, advice, and stories about screenwriting, filmmaking, and the entertainment industry. For a list of credits click here.

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​Copyright 2026 Luciano Saber All Rights Reserved

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