Planning a private screening
A private screening gives a film its first audience. Planning one means getting the technical side right, choosing the room with care and building the night around the film.
Why hold a private screening
Private screenings and premieres mark the moment a film meets its audience. They are used to celebrate the cast and crew, to show a film to funders, partners or press, to launch a brand film or documentary, or simply to share something made with care in the way it was meant to be seen: on a big screen, with proper sound, in a full room.
The purpose shapes the night. A cast and crew screening is a celebration. An industry screening is about the conversations afterwards. A brand premiere is a launch. Knowing which one you are planning makes every other decision simpler.
The venue and the technical side
Picture and sound are the whole point, so the technical side comes first. Cinemas offer the best projection and sound, and many hire out screens for private events. Galleries, theatres and event spaces can also work with hired projection, screens and sound, but they need more preparation. Visit the room at the same time of day as the screening, so you know how dark it gets and what noise carries in from outside.
- Projection or screen size that suits the room
- A sound system that does justice to the film’s mix
- The right file format for the venue’s system, tested in advance
- A full technical rehearsal in the room before guests arrive
- Seating with clear sightlines from every seat
- A backup copy of the film on separate media
- Someone responsible for playback who stays with it for the whole film
The guest list
Decide who the night is for: cast, crew and their families, partners and funders, press and industry, customers or community. Invitations should say what the film is, how long it runs, when it starts and what happens before and after, so guests can plan their evening. For a premiere, think about who should be seated together, and reserve seats for the people the night is honouring.
Ask for replies so seating, hospitality and access needs are planned to real numbers. A screening room has a fixed number of seats, and nobody wants to stand through a film.
The run of the night
A screening has a simple shape: arrival and welcome, a short introduction, the film, then time together afterwards. Keep the introduction brief, a few words from the director or producer about why the film exists. Start on time, because late starts lose a room.
After the film, a Q and A with the director, the people in the film or the team gives the audience a way into the story. Plan who will host it, how long it will run and whether microphones are needed for questions from the floor. Keep it short enough that the energy stays high, and leave time for people to talk to the filmmakers informally afterwards.
Hospitality and atmosphere
Food, drink and music before and after the film turn a screening into an occasion. Keep hospitality out of the screening room where possible, so the film plays without clinking glasses. A considered welcome, such as a performer, a menu that connects to the film, or stills from the film on the walls, links the night to the work. Allow for guests arriving straight from work, who will appreciate something to eat before sitting down for a film.
Access and comfort
A good screening is comfortable from arrival to the final credits. Check that the venue is accessible for guests using wheelchairs or with limited mobility, and that seating can be arranged for them without separating them from their group. Consider captions or subtitles for guests who are deaf or hard of hearing, and let people know in advance if the film contains anything they may want warning of.
Small details matter on the night: clear signs from the entrance to the screening room, somewhere to leave coats, a comfortable temperature, and lights that come up gently at the end rather than all at once.
Capturing the night
Premieres create their own content: arrivals, reactions, the Q and A, the people who made the film together in one room. Photos and a short highlight film from the night help promote the film’s wider release. Billie’s event videographer and photographer services cover this, and the crew can work around the screening itself without disturbing it. Decide where photos will be taken on arrival, such as a backdrop with the film’s title, so guests know where to stop.
How Billie Private produces screenings
Billie makes films, and Billie Private produces the nights they are shown at: private screenings, premieres and exclusive industry gatherings, with venue coordination, hospitality and entertainment brought together under one roof. Every screening is treated as an original production and is a paid commission, quoted per project. Send Billie the date, the film and the audience.
Questions
Do we need permission to screen a film privately?
If the film is yours, the rights question is usually simple. If it belongs to someone else, you need permission from whoever holds the rights to screen it, even to a private audience. Check before the invitations go out.
How long should a screening event run?
Allow time for arrivals, a short introduction, the film itself and time together afterwards. The film’s length sets most of it, and the rest should feel relaxed, not rushed.
Can a screening be held outside a cinema?
Yes. Galleries, theatres, event spaces and private homes can all host a screening with hired projection and sound, as long as the technical side is planned and tested in the room.
Is this a paid service?
Yes. Billie is a paid production company. Production Retainers are $1,500 NZD a month for Essential and $3,000 NZD a month for Creative, and Studio Partner is priced on enquiry. Projects outside a retainer are quoted per project as Bespoke Production, and Billie Private events are quoted per project.
Work with Billie
Every vision begins somewhere.
Tell Billie about the project, the timeline and which retainer suits, or ask for a Bespoke Production quote.
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