Marketing a Short Film
(Before You’ve Even Shot It)
There’s a weird moment that happens in preproduction where you realize that if you don’t start thinking about marketing, it’ll be too late. Sometimes it feels like it already is too late.
I used to think marketing came after the film was done. After the edit, after color and sound, after you’ve burned through your energy and your bank account. But the truth is, by the time you’re picture-locked, you’re also out of momentum. Out of favors. Out of time.
My day job is in communications. I’ve worked in corporate marketing and promoted films and film events, but short films are a different beast. They’re short-term by nature. Sure, they can serve as a calling card, but their shelf life is usually tied to the festival circuit. Marketing them feels oddly personal—because after pouring in your time, money, and creative energy, you’re essentially putting yourself on display. For me, it’s worth the effort. I’d rather invest that energy upfront than let my film sit quietly on a platform, waiting for someone to stumble across it.
So with Sweet Nothings, I’m trying to build that piece in earlier. Not because I’ve got a full PR team (I don’t), or a big marketing budget (also no), but because I want the film to have a life beyond my hard drive.
Here’s how I’m approaching it.
Start While You’re Still in Prep
I don’t have a trailer. I don’t even have all my locations nailed down. But I do have a logline, a few moody stills, and a concept I can talk about clearly.
The working logline has been especially grounding as the rest of the project continues to evolve:
When a middle-aged man meets a teen girl in response to a personal ad, what begins as a seductive encounter quickly unravels as their game of control reveals a chilling truth.
So that’s where I’m starting: making sure I can describe what this film is about—not just the plot, but the tone, the themes, and the vibe. Because if I’m reaching out to potential collaborators, crew, or future partners (festivals, press, programmers), I want to have something to show them that feels cohesive.
I’ve also started putting together a simple mood board. Not a glossy investor-style one, just something that visually conveys the tone of the film. It has some key art, and Ill add cast photos when I have them, along with some reference stills or quotes. I’m not sharing it yet but having it in my back pocket helps me keep the story anchored.
Key Art and a Title That Travels
I spent a little time early on making sure the title worked outside my own head. Does it spark curiosity? Is it memorable? Can I say it out loud without cringing? (That last one matters more than you’d think.)
I’ve also been mocking up a few versions of placeholder posters and playing around with key art. Nothing fancy—just a proof of concept to see if it resonates.
I’m thinking in terms of something that works in a square or portrait crop, maybe even pulls double duty as a social header. Even if it changes later, having a visual helps people start associating an image with your film.
I’m not shaping Sweet Nothings around any one festival, but I am thinking about where it might land. That means keeping an eye on run time (some fests really mean it when they say “under 10 minutes”), thinking about themes, and paying attention to tone. If it ends up too niche, too long, or doesn’t quite land anywhere, that’s fine—but I’d rather know that now than three months after wrapping.
I do have a few festivals in mind. Since it’s my first film in a while, I’ll probably start local—just to get my sea legs back. I also keep a running list of deadlines and submission windows. Nothing fancy, just a just a notes app where I can flag the ones I’m excited about and prep when things need to be ready.
Build the Audience While You Build the Film
This is the part I’ve resisted the most. Social media. Updates. Talking about something that doesn’t exist yet. But here’s the thing: people want to see the process. They want to cheer you on.
So I’m looking for small ways to share updates without feeling like I’m screaming into the void. Some ideas I’m working on:
– A behind-the-scenes pic from a location scout
– A screenshot of a casting call
– A post about the coffee I spilled while rewriting scene three
It doesn’t have to be polished or promotional. Just real. And ideally consistent enough that, when the film’s finally done, people feel like they’ve been along for the ride.
The People You Meet Along the Way
Every person who touches this project—every actor, crew member, designer, friend who shares a post—is also part of the marketing plan, whether they know it or not. I want everyone who works on this to be proud of it and excited to share it. That only happens if they feel respected and included.
So part of my job now is to make it easy for them. Provide clear credits. Send over a finished poster. Share updates they can repost without needing to ask. Make sure everyone gets footage for their reel.
Because if this film is going to travel, it’s going to be by word of mouth. And the people closest to it are the best place to start
Still in Pre, But Thinking Ahead
I don’t have it all figured out. I’m still in preproduction, still making decisions, still rethinking that one scene that just won’t land. But I’m trying to treat marketing not as an afterthought, but as part of the storytelling. A way of shaping how the project is introduced to the world—not just after it’s made, but as it’s made.
If you’re working on something, I’d love to hear how you’re thinking about marketing and building an audience. Are you posting updates? Mocking up posters? Keeping it all close to the chest until it’s done? Drop a comment and let me know.
And if this kind of behind-the-scenes stuff is useful, you can subscribe for more updates along the way.