How to Go From Proof of Concept to Feature Film

You may think a proof of concept lays out the foundation for the entire film, almost like a trailer. From visual style, characters, to music - it’s a proof of what the entire film will look like.

However, as we will see in the examples below, not all proof of concepts are the same and the simplest of a two minute concept with no dialogue can launch a feature film.

I also included the actual proof of concepts/shorts so that you can watch them.

Why Use A Proof Of Concept?

Usually the one and only reason any filmmaker creates a proof of concept is to launch them into a feature film. The whole goal is to convince someone - a producer, studio, or investor, that their concept would make a great film.

Also for yourself as a filmmaker, it’s a great way to test or challenge yourself to get your idea in even the smallest of visual formats. Think of the proof of concept as the visual logline. You want to be able to sum up your entire screenplay in one or two sentences. Can you do the same with a proof of concept film?

I tried to find a good collection of work that had been used as a proof of concept that got four feature films made and also helped make the careers of a couple of those filmmakers.

Proof of Concept Examples

Let’s start big and then move down to small. I’m going to reference four distinct projects, they will start larger in size and then move down to very indie no budget concepts that went on to get a hollywood career. 

When I say big to small, I mean it in all aspects of the word when it comes to a film. Bigger budgets, longer short films, larger crews, larger cast all the way down to one crew, one cast, no budget and no dialogue.

The goal with this broad range is to show you that there are many ways to make a proof of concept, there is no right way, it’s just choosing what works best for you and your project.

Often times what works best has to do with your own time and budget constraints.

Example 1: Whiplash

Damien Chazelle wanted to jump right into making a feature film of Whiplash, however, his producer suggested he make a short film first. Instead of writing a short film or trying to squeeze an entire feature film into a short film - he took a single scene and made that the short film.

Little aside here, it also shows how a strong scene is its own little movie in essence, a lot of story can happen in one scene.

This is the “biggest” example of the proof of concepts we will dive into in this article.

Not only is it the longest at 13 minutes, but it will also have the biggest budget, crew, and cast. It’s got J.K. Simmons! (J.K. Simmons went on to win an Academy Award for his performance in the feature film Whiplash).

Though you may not be able to attract the same cast or budget for your short film proof of concept, this example still works very well at taking a single scene from the feature screenplay and turning that into a short film to attract investors to make the feature film.

Do you have a scene that either really showcases the tone of the film, or how the characters will interact, or what will be the driving force of the film?

Example 2: Looper

I use this example second, though it is probably the easiest of proof of concepts to create, it was created by Rian Johnson to pitch Looper and at this stage in his career, even though most people did not know who he was, he had a decent amount of credits to his name, so in essence at least a track record.

I say that because , his track record PLUS this proof of concept helped get the film made. Could a filmmaker with less credits to their career use the same style proof of concept? It’s hard to say, so that is why I put it higher on this list, because the “bigger” element here is that Rian Johnson had already directed quite a bit, even a feature film before this.

Rian created what he calls a clip-o-matic trailer in which he took some storyboard characters and mashed them with some real footage from movies and recorded a voice over for the whole thing. This allowed him to showcase the visual aesthetic and tone of the movie. Since this is a time travel movie, it most likely would have been perceived as more of a glossy, clean looking, sci fi film. Whereas the goal was to have a more 90’s noir thriller style and look - and the clip-o-matic does a good job of that.

This proof of concept helped deliver the premise of the style, feel, look, and pacing of the film. This is something anyone can do themselves with the help of no other person. It is the best no budget, no camera, way of making a proof of concept - at minimum you can use it to help find an investor, or cast, or even cinematographer, by showing them the style and tone of film you want to make.

Example 3: PIXELS

I remember watching this short film when I was in grad school and also reading about how it was purchased to be made into a feature - because of that, it always stuck with me.

I don’t know if the goal of the PIXELS short was to try to get a feature film made, but I would guess no. My thought is that it was made as a demo or resume piece to show the VFX skills - a calling card.

This is a great proof of concept because there is no story. It’s just a fun concept. That is important because if the concept is unique or interesting enough, then a story can be made from it later. So when the rights to this short were purchased to make a feature, I am sure the studio was just thinking “I don’t know what the movie is yet, but I want to own it” - because there is always an audience for nostalgia and playful concepts.

Even if you do have a feature film screenplay, if you just want to take a concept of your idea and turn it into a visual calling card for yourself then that is also a route you can go.

Example 4: Lights Out

This is my favorite example. It’s another proof of concept that wasn’t made as a proof of concept but it launched into a feature film, and it launched the Hollywood career of the director.

The director David F. Sandberg made this short film for the Bloody Cuts Horror Challenge. After the festival he posted the short online (YouTube and Vimeo) - like many people, nothing happened with it, until word of mouth took hold. Months later the film started to be shared more and more where it was viewed millions of times and attracted the attention of Hollywood producers and studios.

This example is wonderful because it is more like a small one act play than a short film. There really isn’t a story, it’s just an idea told visually. I find that wonderful.

There is no dialogue.

There is one crew member David F. Sandberg, and one cast, David’s wife.

You don’t have to be in Hollywood or a major city to get your career going. David F. Sandberg is from Sweden, and he made this film in his apartment in Sweden.

You just have to make something people will like and share.

Lights Out was released online in 2013 and David made the “hollywood” feature version in 2016. In between that time he also made SIX more short films. If something does well, keep creating, don’t rest on the success of your last project make more. I imagine David was having conversations with producers, agents, and studios in 2013. He could have easily waited to see what would happen next, instead he decided to keep creating. Nothing looks better to the higher up industry then someone who keeps creating.

Six more short films in three years knowing you will make a feature film is a lot - and it also shows your creative determination and drive.

David went on to direct the superhero movies Shazam and Shazam 2.

There is no right way.

The biggest thought I want you to take away from this, is that there is no right way. There are so many methods and concepts to get your feature film made. Test out ideas that you like, try different things, and reiterate. Most important of all, keep creating.

It doesn’t matter where you live. It doesn’t matter if you have no connections in the industry.

All that matters is that you have a passion for telling visual stories and getting those visual stories out there.

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