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Screen allocation is settled in the last days before release, between distributors and exhibitors carrying very different exposure to the same weekend. How those conversations run, why a show count matters more than a screen count, and why the number moves again by Sunday night.

Distributor advances, satellite and digital rights, the music deal and a producer's own exposure are usually stacked before principal photography begins. How a financing plan is assembled, which piece almost always closes last, and what a production does when that piece does not close at all.

Between a casting director's brief and a signed contract sit agents, self tapes, callbacks, chemistry reads and a great deal of waiting. A walk through the process as each industry runs it, and an honest account of which open calls are worth an unrepresented actor's time and which are not.

A minimum guarantee, a commission arrangement and an outright sale put the risk in three different places. What each structure means for the producer, the distributor and the overseas buyer taking a film into a diaspora market, and exactly where the argument starts when a release underperforms.

Occupancy, show timings, ticket pricing and the length of a hold shape a run far more than the opening figure does. How exhibitors read the first three days, when a film starts losing shows to the next release, and why the same title can be thriving in one city and finished in another.

While the screenings run, sales agents, financiers and buyers work through a parallel schedule of meetings. What a producer needs in hand before arriving, what a finished film is really being sold on at that stage, and how a project still in development gets packaged for the same room.

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