I remember the script: it didn't go anywhere.
You've been given various ideas. Besides that there must be a style you'd like to try?
You can go make the trailer: it might proof to be complicated if you need many people and lcations. But it will be a good exercise. You will run into the same problems as ever: locations, cast and crew. Overcoming that will be great. The more you need, the harder you'll need to work to get them.
(That is also why I advocate making a simple* short: where simple means: small cast, few or 1 location, no special effects you can do yourself. If it turnsout good, you'll have something to comvince more people. But you know my view on this by know, I hope.)
Just remember: a great scene is like a short story, but it has the context of the rest of the movie.
I hope you aren't saying you can't write, because you are writing your own feature. And you want to put your money in it.
Ever thought about contacting people you worked with on other projects?
Just putting out adds is like starting from scratch everytime. Post adds, but don't forget to message the people you know.
Great. What do you do with that footage?
Without a plan to edit it, you are just learning how to handle machines.
If you edit it, you are learning how to shoot stuff you can use for your ideas.
I sometimes do shoot stuff without editing as well: that is when I'm learning to use new equipment. Following the steps through the manual to train my brain how to do it, so I don't need the manual on set. Very useful, but after 2 times doing that I'm done with it: any next test would be making something that needs to be edited to see how I can apply the technique in a context.
with a commentary by film historian Rudy Behlmer. It's fun to hear how the script came about, how scenes were cut or drastically rewritten to comply with the budget, how the director & DP were replaced, how two other name directors shot B-roll and other coverage (as required by their Warner contracts), and lots of other fun & interesting information. What is also fascinating to me as a non-visually oriented person is how, without digital color correction, everything matches up so well. It was also fun when, after describing the numerous locations for the shoot, Behlmer named the locations for each shot in a chase scene: "here we are in Chico, now Calabasas, now the process stage, back to Calabasas, the process stage, Chico, the Warner back lot with a beautiful matte for the castle, the process stage…" etc., etc., etc.; one scene, multiple locations, different directors & DPs and it still all matched up seamlessly! It was also cool when Behlmer pointed out matte shots, and there are a few bits in the extras that show how the mattes were used; sometimes more than half of a shot was a matte.