tag:blogger.com,1999:blog-46234092879658842772018-03-06T09:25:24.372-08:00Script GoddessA Script Supervisor's view of life on the setScriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.comBlogger103125tag:blogger.com,1999:blog-4623409287965884277.post-61268453409018877762012-10-20T08:29:00.000-07:002012-10-20T08:29:12.563-07:00There's No Place Like Home<br />I am terribly sorry I have been away from the blogosphere for such a long time. It's really because I had run out of gas...energy...enthusiasm...passion for script supervising. I had gotten so beaten up over the past few years working on projects that all claimed would go somewhere and all landed flat on their ass. I found myself continually working on lower and lower grade projects and with each one feeling more defeated. I could see my career in a downward spiral, I was no longer rising up and playing in the sandbox I had once grown custom to but rather, swirling into a cesspool of work that was in no way professionally satisfying.<br /><br />So, I left. Walked away. Placed my stopwatch on the counter to collect dust.<br /><br />The last job I did prior to my departure was an infomercial. Which is cosmically funny because the first job I lied to get on as a scripty was also an infomercial (yes universe, you have a demented sense of humor). We started the project with the obligatory script reading and watched as the no name infomercial "star" began to go all Christian Bale and completely changed the script, throwing production into chaos, making the writer change everything while the AD and I sat and ate chocolate. We had been in this situation before, lived through these tantrums, nothing new. We knew taking notes was futile as this clown would change it again overnight anyway. So, we just sat, grinned at each other and compared notes on the quality of the chocolate crafty had brought in. He thought it had a heady bouquet with a hint of cinnamon, but with a little too much bitterness. I agreed it was a bit sharp, but the texture was velvety and finished well. It would have paired nicely with a glass of port or maybe a bottle of Pinot Noir. Mmmm...Pinot Noir...<br /><br /> Hm?<br /><br />Oh! Right, the shoot...<br /><br />Shoot day: I'm ensconced in my all too familiar spot next to the teleprompter operator, and the "star" begins the day by flipping out at the teleprompter operator. Again nothing new. It's always the crappy actors that seem to yell at the prompter operators. Our operator made a feeble and failed attempt to bark back but the director cut him short. "Don't you dare yell at the talent!" the director screamed. I nodded to myself; yup, another quality production experience is under way.<br /><br />As we began to shoot, the "star" freaked out over the sound person, the prompter, the live audience, and anyone else unlucky enough to fall into her cross-hairs. Meanwhile our director kept continually yelling at the camera operators terms that were more live stage than film terms so there was a serious break in communication. As this went on and the director revealed his ignorance, I could tell the camera ops were just phoning it in. As was I. What hand was the "star" holding the product in? At what point was the product picked up? I found I no longer cared. Did it really matter? It's an INFOMERCIAL people! Anyone watching is either senile, high, or an insomniac. I sat in that uncomfortable chair for 12 long hours. Taking notes, acting like I cared, and inside my heart ached.<br /><br />For....<br /><br />My first love. I remembered those old film days on the big features. Proudly walking on set, feeling the link of Polaroids bouncing against my hip as I passed by the catering truck. I remember the amazing feeling of working a long overnight and how the first glimpses of purple on the horizon meant only 15 minutes more until daylight and wrap. I remember the sweet moments shared between myself and a fellow camera operator as we worked long hours together and bonded over red Twizzlers. I remember being in locations that were far to beautiful to believe and hanging out with actors, some famous, some not, that are but a distant memory now. But most of all the moments I treasured above all else was when I walked up to the monitor, took my place beside the director opened my book and I felt my heart say "home".<br /><br />I longed for that. That feeling of being at home. The knowledge I am succeeding and not failing. The feeling of peace. People spend their entire lives looking for that thing, that profession, that activity you know you were born to do, and I had found it. I was the luckiest person on earth. Was.<br /><br />And as I stared at the crazy infomercial "Star" and listened to the idiot director I realized I had come full circle. Here I was so many years later in the same exact spot where I started with no chance of a second lap around the track. It was a crushing blow. No feeling of "home", no inner peace, just frustration and immense sadness.<br /><br />When I read Blood Sweat and Tedium's <a href="http://hollywoodjuicer.blogspot.com/2012/09/living-dream.html">posts</a> they are often so sad and thoughtful, and I believe he got to this point sooner than I. We all know those magical moments that only a film set can produce. They are fleeting, amazing, sadly temporary and I long for them every day.<br /><br />So, when the infomercial wrapped. I did not pause to say goodbye and thanks to the producer, director and crew as I usually did. I just turned in my notes to production, gave a half-hearted smile and walked out the door not looking back. Done. Finished. Over.<br /><br />Maybe I had a mid-life crisis? Maybe I just needed a break from the insanity, who knows? So, for those still scripting hang on tight...never let go..and for those just starting out I wish for you the best. And as for me and the blog? Not sure....Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com10tag:blogger.com,1999:blog-4623409287965884277.post-40567993542322641442012-10-15T17:48:00.000-07:002012-10-15T17:48:42.961-07:00Yes, I Am Still AliveI know, bad blogger....You'll notice some updates to the right side, some new software information... Also this caught my attention. A fellow script supervisor needs your help: Click <a href="http://www.indiegogo.com/marilyngiardinozych">Here</a> to learn about Marilyn Giardino Zych. Hope you all are well and happily scripting away!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com2tag:blogger.com,1999:blog-4623409287965884277.post-27333693062979407422011-12-23T13:17:00.001-08:002011-12-23T13:17:57.675-08:00Happy Holidays!Happy Holidays to my dear readers! <br /><br />Wishing you a year full of exciting jobs, good pay, nice directors, competent actors, wonderful producers, adoring crew, comfortable locations, and awesome craft service!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com8tag:blogger.com,1999:blog-4623409287965884277.post-49783566543494153082011-11-20T06:03:00.000-08:002011-11-20T07:35:09.968-08:00Script Supervisor on CommunityThe latest episode of Community features a script supervisor! <br /><br /><object width="512" height="288"><param name="movie" value="http://www.hulu.com/embed/oWW4WLZkbO1xp9ul-9cSvg"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.hulu.com/embed/oWW4WLZkbO1xp9ul-9cSvg" type="application/x-shockwave-flash" width="512" height="288" allowFullScreen="true"></embed></object>Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com6tag:blogger.com,1999:blog-4623409287965884277.post-66126893411383691212011-10-30T05:24:00.000-07:002011-10-30T15:30:27.399-07:00Script Supervisor's Elevator SpeechFor many years I have always struggled with "civilians" asking what I do for a living. My elevator speech goes something like this: <br /><br />Normal Person: What do you do?<br /><br />Me: I'm a script supervisor for features and commercials.<br /><br />Normal Person: Oh! So you write commercials.<br /><br />Me: No I'm on set during filming. I sit next to the director and make sure the scenes match and the actors say their lines correctly.<br /><br />Normal Person: Oh, so your like a producer?<br /><br />Me: No, I'm a script supervisor, I'm like an on-set editor, I make sure that everything matches, continuity, eye line, so that when an editor puts it together it's seamless. You wouldn't know it was shot out of order.<br /><br />Normal Person: Oh, so you watch for continuity errors?<br /><br />Me: That's one part of my job.<br /><br />Normal Person: I'd be great at your job, I always catch continuity errors in movies! Did you ever see [insert random movie]? There was this one part...<br /><br />At this point I roll my eyes in my head and just smile and nod as Mr./Mrs. Person recounts all continuity errors that he/she have spotted in movies, perhaps thinking I'll give a knowing nod and respond with something like, "I know that exact spot. The script supervisor never worked again. Sad really."<br /><br />Another alternate version to the last answer is:<br /><br />Normal Person: Oh, my friend's cousin was an extra in a movie once. He saw [insert famous person] and got to stand right next to them!<br /><br />At this point the entire conversation shifts as everyone ooh's and ahh's at the thrilling tail of this now third hand celebrity encounter. If I'm feeling snippy (really, it happens) I may comment that I talk with the actors all the time and run lines with them. Somehow that doesn't seem to hold a candle to the time said friend's cousin told Shelley Long which was the fat free ranch dressing in the catering line.<br /><br />Not only do I have trouble with strangers, but I also have a friend who never quite understands what I do either. She will go on and on about her niece who works in a post-production house (this is in no way intended to belittle post). One time she told me about how this niece was invited to set once and had to stay 15 feet away from the actors, but managed to get some good pictures. "Isn't that amazing!" she tells me. I nod and respond, "you do realize that I actually not only stand next to... but talk to the actors right?" Somehow that doesn't compute...<br /><br />What have you said that has worked when you explain what you do? How have you explained what you do in a :30 second elevator speech...clearly I need assistance!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com19tag:blogger.com,1999:blog-4623409287965884277.post-17946189503998938282011-09-08T17:22:00.000-07:002011-09-08T17:31:34.314-07:00Yes, I am still alive.Sorry, I have been working (good) and ignoring this blog (bad) Sorry! please forgive me. <br /><br />I am posting the following question in hopes someone out there can give this poor scripty wannabe an honest answer.<br /><br /><span style="font-style:italic;">Hello!</span><br /><br /> <span style="font-style:italic;"> I hope I'm contacting the correct person - your email is on the blog<br /> Script Supervisor Forum.<br /><br /> I'm considering taking Randi Feldman's Script Supervising course in LA,<br /> and I was just wondering if you knew anything good or bad about the<br /> course. I can't find anything on the internet other than letters on<br /> her website, which are nice but may be edited or not so honest, one<br /> never really knows. I can't find anything negative, which seems<br /> strange - I'd rather hear truths and sort through it myself. Anything<br /> you may know is a help, as long as it's honest.<br /><br /> Thanks much,<br /><br /> M.<br /><br /> p.s. how is the script supervising business going? Are people getting<br /> jobs, getting hired? Should I even be trying to do this job?</span><br /><br />Scripty says: I have never taken a script supervising course...therefore I have no knowledge. Yes, you should try and do this job. I like it! <br /><br />Also, if you are on Facebook another good place for scripty information is "ScriptSupervisors!" group page.Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com13tag:blogger.com,1999:blog-4623409287965884277.post-20295785309095403132011-01-29T05:46:00.000-08:002011-01-29T18:32:37.700-08:00My Script Supervising Ego!If you work in the film industry you know that most of the people in it have a healthy ego. Actually, you probably know that if you don't work in the film industry. Either way, I am no exception, and I offer the following recent job as evidence: <br /><br />I got a call for an out of town job. They looked at my resume to make sure I had experience and they were impressed. They offered to pay for my hotel, give me per diem, and pay my travel expenses. It was for a big national client. Good! I like those jobs, typically fun, and most importantly I feel valued at the end of the day. (I get to feel valued, and my ego gets stroked)<br /><br />The morning of the shoot, I came in ready to work. I studied the boards the night before, so I knew all the dialogue. First person I met was the production coordinator. She says hi and points me to the coffee. Great! I can get a jolt before we get going. As I stood there sipping my coffee, I noticed that there was no crew around. "Where is set?" I ask. The coordinator says "Oh, they're up in the factory shooting some b-roll, you're not really needed until we do sound." (note that sound was already up there)<br /><br />Ok, NEVER tell me I'm not needed! I sort of bristle at those words. Second you are paying me for the day whether I work or stand around, drink coffee and look cute. Why not get some detailed b-roll notes anyway?<br /><br />So, being the go-getter I am (read: doing whatever suits me) I ran up to the factory and stood outside the door (they wanted minimal crew in the factory) until the producer came by. "Excuse me," I said, "wouldn't you like some notes on this stuff?"<br /><br />"Naw" he says, "hang here and I'll call if I need you." Hang. Here. I'll call you if I need you. Being he was the producer, clawing his eyes out seemed like a bad option.<br /><br />I had been given cans/ears/whatever-the-heck-you-call-the-ability-to-hear-the-actors early on and as I listened I realized the talent was talking. Talking! Like with words and everything! Really? You don't want any notes on this?<br /><br />Next time the producer passed by I asked again, "You know, they are saying some of the dialogue, don't you want me in there?" Pause. "Ah, sure" he stumbles reluctantly, "Yeah, ok." and gave me the special go into the factory gear (eyeglasses hair net etc). <br /><br />Now I can finally see the set. The director and the D.P. are both shooting 7D's (small hand-held SLR camera for the uninitiated) and flying around the talent in a documentary style. Sound is working and no less than 10 agency are standing in the way. This is their idea of a minimal set?...What is one more tiny person going to do?<br /><br />At the first break I introduce myself to the director and ask is there any camera notes he'd like me to put on the log sheet? He says, "Nah, no need, just capture some dialogue; that would be great."<br /><br />Ok. Three times I've basically been told to sit out this scene and wait. I get it, B-roll, doc style. But then...<br /><br />When we finally do actual agency written dialogue and I bring up an error. Director says, "No worries, I'm going for that doc style and we'll cut as needed."<br /><br />WHY THE HELL AM I HERE?!<br /><br />Yes, it's true, I'm making big bucks to sit on my ass, take minimal notes and smile at the agency drones, but really? For day rate, hotel, per diem, mileage, REALLY? Not that I want to eliminate my job, but at least ACT like I'm a necessary part of production.<br /><br />But then I have to check my ego! If this were one of my first jobs I would have relished the minimal effort required. I would have enjoyed the whole day, being able to soak in the job, watching how everything gets done marveling at the technology basking in the fold of agency creatives. I would have left feeling happy and in love. Instead I left feeling frustrated and worthless.<br /><br />So, yes it's true my ego kept me from enjoying the job. It's just that I have this endless desire to feel needed and appreciated, but doesn't everyone?Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com20tag:blogger.com,1999:blog-4623409287965884277.post-8535356317245224772010-12-09T13:01:00.001-08:002010-12-09T13:03:27.031-08:00Script Supervisor vs. DirectorEnjoy! And Happy Holidays to all!<br /><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/26NZhb1OWPY?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/26NZhb1OWPY?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com8tag:blogger.com,1999:blog-4623409287965884277.post-76281038895326501812010-11-23T13:45:00.000-08:002010-11-23T13:50:58.869-08:00Numb3rs Script SupervisorYes, I am still alive. Just have had nothing new to report, so I thought I'd let someone else say something. The video's been around awhile but it offers a great explanation of the squiggly lines we draw in the script!<br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/aWw_A-kvCPU?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/aWw_A-kvCPU?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com3tag:blogger.com,1999:blog-4623409287965884277.post-50778103335003064792010-09-19T05:38:00.000-07:002010-09-30T17:07:59.583-07:00AD For A DayI have been answering a lot of questions in my posts lately and I'm sure those of you NOT scriptys that read my blog have yawned a bit. So I thought I'd tell you about a recent adventure of mine.<br /><br />A couple months ago work had slowed down to a crawl! And I HATE not working. I get instantly bored and while I would have all the time in the world to create/build/research/ cure cancer, update my blog... do anything those work every day people would kill for time to do...I just can't seem to get off the couch!<br /><br />But one day I did manage to get my butt off the couch long enough to wine about my lack of work to a favorite and long time client of mine "I'll do ANYTHING!" I said. So, what's a 16 year veteran scripty qualified to do on set? Not much I think...I'm expecting for him to come back to me and say, wanna do craft service? <br /><br />He says he'll keep me in mind, then calls me a couple days later and says wanna be my AD?<br /><br />Um, let's see I'm short (remember 5'4" in my red sneakers) I have a soft voice, I'm not a control freak...and I don't wear Hawaiian shirts. BUT I am desperate so I say Sure!<br /><br />Scripty's and AD's often work in tandem making sure all shots are covered for the day. So I've got a pretty good idea in my mind what they do. BUT I had just never carried the role myself. My initial and biggest fear was dealing with the grip/electrics. As a scripty my only dealings with them are when they stop by my chair and ask how many shots left, or I have a flirt fest with the dolly grip.<br /><br />But remember I'm desperate and really not afraid of making a fool of myself, and having been in film for so long, much of is is second nature to me anyway. I figure how bad could I screw up.<br /><br />Pre-light. Pre-light had always been this mysterious part of any commercial to me as a scripty. I'm never there for pre-light, and I've always wondered what happened on that extra day. I walked onto the set and met the director/my friend/client and he greeted me with a warm hug. Ready? I said yes. As the boys started to load in I found them checking me out, <span style="font-style:italic;">not</span> in a wow's she's hot sort of way, more of a quizzical, um, really is she the AD? Sort of way. The camera assistant is the first to approach me and he says "I'm gonna load all my stuff here can I put my laptop over there?" I said "sure" and my day begin. I just basically did some pre-pro work and watched the grips/electrics rig/light the set. Pretty boring if you ask me.<br /><br />Day 1 interior stage: I learned a few things that day, I learned why AD's look at their watch every two minutes, I learned that when make-up/hair say 5 minutes it's really 10 (for this particular make-up hair team)I learned that the AD can add stress to the shoot, always having to tell the crew how fast we have to move. (in a nice way of course)and although I got a power thrill wrapping out actors, I felt like a con saying "everyone turn off their cell phones...etc." Haven't we all heard this before!<br /><br />I "made" my first day! (meaning we got in all the shots in the time allotted) and I got to call "wrap!" Another huge perk of the AD job.<br /><br />Day 2 Interior Stage: Feeling confident by acing through day 1 I had asked Makeup and hair to get their first actor on set by 8AM and they nodded and said yes no problem.. ....8:15 still not on set, 8:20...arrgh! (I'm now understanding why some AD's are perpetually crabby)... 8:25 Actors butt is on set! Finally we are starting a now over boarded day 25 minutes late, then... the camera falls apart. Some do hicky on the camera is refusing to work sending the AC into near melt down mode. Add a 30 minute delay for that. Then I can't believe the following happens, but we have to fire an actor! The details of the situation are hush hush but suffice to say, the director and I spent at least a half an hour outside discussing how to manage the firing! E gads. To keep us on schedule, that it was, we let the producer and D.P. just keep shooting and we'd check in as we spent around an hour give or take firing said actor. Then our still photographer came in and said to me, "should I be a dick, or do we want to work together nicely" I chose that <span style="font-style:italic;">I'd</span> be a dick about that time!<br /><br />We rallied at the end and finished our day with an hour overtime, not bad considering all the shit that happened!<br /><br />Back for more Day 3 Exterior House. My first time directing trucks and production vehicles. As I was arriving at the location My key P.A. called in and said he'd be late. How late I asked "Oh, not more than an hour!" he says. Not more than an hour! I wonder what <a href="http://anonymousassistant.wordpress.com/">The Anonymous Production Assistant</a> might say about that! But having our other PA be a no show I was in no position to fire him. This sent us into a small scramble since Art department was relying on the Key PA for set up, and our only other PA that had the decency to show up on time was arms deep in craft service. (yeah, crew coffee plays a higher role than set dressing) We had 5 kids and a dog and a jib! <br /><br />Day 4 Exterior House: This morning craft service was late, what is with crew not showing up at call!!! Since our client was super picky about having food available first thing... once the crafty girl showed up we descended on her vehicle like a swarm of bees, set up breakfast in no time and as we were just opening the last box of donut holes, the client walked up. Sometimes I'm lucky!<br /><br />This day was a three company move day. I had budgeted quite some time for the moves but the crew was FAST! We loaded out of the house in 1/2 hour causing myself and the producer to call the next location to tell them we were running ahead of schedule and could we arrive early. I was flying down the freeway following the grip truck talking on my cell (yes Oprah, hands free), I felt like a big wig! It was sort of a fun moment...and better to be ahead of schedule than behind!<br /><br />Not all went as planned however, and that's just typical production..this day brought with us a sick grip from the heat, and new PA (to replace the no show from day 3) that liked to stand in doorways and chit chat, (P.S. please if you are a new PA NEVER stand in doorways, along thin hallways or in front of the coffee at craft service) <br /><br />Oh, and if your wondering there was no script supervisor on set. <br /><br />All in all pretty fun, very stressful and while it was interesting to know all the behind the scenes drama, having a dear friend be my director made it much more enjoyable. But I'd prefer to go back to scripting, haplessly unaware of any production drama, flirting with the grips and paying attention only to what happens ON screen!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com0tag:blogger.com,1999:blog-4623409287965884277.post-80808603510693327852010-07-13T15:54:00.000-07:002010-07-13T05:39:01.347-07:00Talking with Directors<span style="font-style:italic;">Hi!<br /><br />Love your blog! I'm still a newbie in the continuity field. What are some of your favorite phrases to ask a director (so as not to make him feel defensive) on continuity errors, coverage, shot lists, preferred takes, etc...<br /><br />Thanks so much! Keep scripting!<br /></span><br /><br />This is a brilliant question! And one that deserves some discussion! Since we are a department of ONE and rarely get to model our "style" after another...I hope other scripty's give their take on this question too! <br /><br />I have to admit I really try NOT to talk to directors. I prefer to talk to every other department. For example if I see a wardrobe issue..I'll discuss it with wardrobe. A hair issue...I'll talk to hair...shot list, I'll talk to the AD and so on...<br /><br />So much so that if I actually bring something up to the director he/she will be trained early on that when I speak it's important. And so far in my career this strategy has worked very well. <br /><br />As far as what to say when I hit that "I have to discuss this with the director" I tend to speak softly and typically start with "Excuse me, but Actor A & B have been changing up their actions each take on the master, is there one take we should match for coverage?" This typically and hopefully hits the director and he/she realizes that he/she must remind the actors to match their actions or it's going to be a cutting nightmare in post. Or the director likes the mismatched action and is waiting to see which one they will ultimately match to for coverage. Or I'll get the answer many scriptys hear all the time "It doesn't matter". (remember to roll your eyes in your mind on that one!)<br /><br />Now, sometimes, I work with directors that like to talk. They like to shoot the breeze in between takes, or challenge me to see who can put a war head candy in their mouth and not make a face. Sometimes childish, sometimes fun, but I guess I always take the directors lead on conversations. I have heard of many scripty's getting fired because they were asking the directors too many questions and or fighting over every potential continuity concern that they became just a pain in the butt.<br /><br />And I would tend to believe that not being a pain in the butt might get you more work!<br /><br />Any other scriptys care to comment on how you work with directors?Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com9tag:blogger.com,1999:blog-4623409287965884277.post-26338790803109564922010-05-18T18:13:00.000-07:002012-11-19T05:08:49.430-08:00Saturday Night Live - May 15 - Script Supervisor SkitClick <a href="http://www.hulu.com/watch/149660">HERE</a> to see the skit! Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com10tag:blogger.com,1999:blog-4623409287965884277.post-7360569113123200022010-05-13T08:03:00.001-07:002010-05-16T12:48:15.107-07:00More QuestionsYes, yes, I'm a bit behind. Yes, I should have posted last month...but hey! This month will be super-sized for your reading pleasure!<br /><br />Starting off with some e-mails:<br /><br /><span style="font-style:italic;">Dear Script Goddess: I have been doing script supervisor work for almost 2 years now, but Ive only worked on short films, mostly students films. <br /><br />I am looking for an internship, or a mentorship, or anything like that for this summer. It doesn't have to be an official internship, I just would like to meet with a script supervisor, and maybe "shadow" him or her on a project, from the pre-production to the production to see how things are done exactly, and how I can improve. I'm already emailing local 161 and the script supervisors network.</span><br /><br /><br />Script Goddess says: Emailing local 161 is a brilliant idea. Also try sending in your resume to get on any 2nd unit feature work. Anytime you offer yourself up for "free" is helpful too. (Not just shadowing but offering to type up notes, etc.) Also, I can't stress enough what makes a good scripty is editing experience. Offering to help out in a editing house will make you that much more skillful. Good Luck...<br /><br /><span style="font-style:italic;">Dear Script Goddess: I do have a question for you regarding training - I have recently decided to pursue script supervising after doing a favor for some friends by doing continuity on a short and music video. I really did not know what I was doing at the time but somehow managed to make it work. Now that I want to do it for projects not involving my friends (who patiently beared with me!), I would like to take a workshop or course here in New York. However, I am having trouble finding shorter term courses. Do you know of any on the east coast you could recommend? <br /></span><br />Script Goddess says: ScriptE links to <a href="http://www.scriptsupervising.com/">Randi Feldman workshops</a> check them out. And like the previous question, offering to work for "free" and/or getting on a feature will garner you some additional experience.<br /><br /><span style="font-style:italic;">Dear Script Goddess: I'm really passionate about script supervising even though I haven't even started a career yet. So I'm looking for advice like what kind of formation I should follow, as it's difficult to find courses about this particular career. I live in Vancouver just in case you have "local advices" to offer me.<br /></span><br />Script Goddess says: Anyone out there in Vancouver that can give this young scripty some help? My only suggestion would be to contact the <a href="http://www.iatse.com/">union</a> in Vancouver I'm sure they can direct you to some courses. <br /><br /><span style="font-style:italic;">Dear Script Goddess: I had a question about timing the script....are there any special techniques to it apart from just reading it out loud? I assume the dialogue bits should be pretty simple, but in terms of the action parts? Any info would be much appreciate!</span><br /><br />Script Goddess says: Timing the script takes a bit of skill, but it gets easier with experience. I always time the script by reading the scenes and the action sequences out loud. If it just says "car races along freeway" I pause for a couple seconds to visualize that. If it's "actor A grabs knife from actor B, causing actor B to fall from the ledge to his death," I've found reading all that detail out loud kind of resembles how much screen time the scene might take. Your initial timing of the script is a rough guess as to how much screen time is required for the film. Also a point to remember that each script page roughly amounts to one minute of screen time. Now that's not always accurate due to the fact some actors like to "Shatner" their dialogue and draw things out, whereas others like to speak quickly and mumble (I watched Sherlock Holmes recently)<br /><br />As you time out each days' filming you will get a better indication as to if the movie is running long or not. Critical timing for me has always been in television and commercial work (a whole new post). On shoot day I can (and often times have) walked up to the agency and said "Are you on crack? You think this actor can say all this dialogue in 15 seconds and not sound like an auctioneer? You need to cut something!" Ok, the filter is usually working well enough so I don't say it quite like that, but I definitely think it.<br /><br />Any scripty's out there...please add your 2 cents!!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com6tag:blogger.com,1999:blog-4623409287965884277.post-72886830079959017812010-03-07T07:51:00.000-08:002010-03-07T15:47:21.373-08:00A Typical DayA reader recently sent me an e-mail with the following questions...<br /> <br /><span style="font-style:italic;">- Do I need to bring my own equipment, logs, etc. or is that something that is usually provided for a Script Supervisor?<br /> <br />- What is the typical day like as a Scripty on a one day commercial shoot?</span><br /><br />Yes, I always bring my own equipment, which consists of paper, pens, stopwatch, laptop, jump drive and gum (although the last item may be found on your finer craft service tables).<br /><br />Of course, there is no such thing as a "typical" day. It's rather bizarre actually but I can break it down for you this way. <br /><ul><br /><li>You will arrive before call time<br /><li>You will take notes<br /><li>You will eat craft service<br /><li>You will take more notes<br /><li>You will flirt with the camera assistant/grip/electric/wardrobe in the gender of your choice (optional)<br /><li>You will eat a meal (there is no guarantee it will be good)<br /><li>You will chew gum<br /><li>You will take more notes<br /><li>You will interact with several departments<br /><li>You will be asked a technical question<br /><li>You will answer it correctly (all scripty's are smart!)<br /><li>You will call out a mistake and save someone's butt (again all scripty's are smart)<br /><li>You will write down when wrap is called<br /><li>You will bring your notes to production<br /><li>You will fill out a time card<br /><li>You will get paid (in most cases)<br /></ul><br /><br />You will also be prepared for rain, snow, sleet, hail, tornadoes, earthquakes, acts of God, bad food, no food, wood ticks, sunburn, wind burn, small spaces, large spaces, noisy spaces, stinky spaces, mean directors, nice directors, insane directors, nice directors that are also insane, long days, short days, fast days, slow days, you name it, I've done it! And that's a typical day.<br /><br />BTW Script Supervisors should be interviewed more often! Check out Script Supervisor Kathleen Messmer's interview for <a href="http://makingof.com/posts/watch/1063/script-supervisor-kathleen-messmer">Making Of</a>:Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com9tag:blogger.com,1999:blog-4623409287965884277.post-91753899875898950582010-02-07T05:00:00.000-08:002010-03-17T06:07:18.580-07:00I'm Only HumanWhen I started this blog I thought, "this will be an easy gig." I'll write about all the crazy directors I encounter. For example, the director who had Numerophobia. A certain number had to be marked with ** instead of the actual number on the slate. I figured more like him would come along every day.<br /><br />As of late however, I have only had pleasant set experiences. Don't get me wrong, working with nice directors is much more conducive to my mental health. It just makes for really lame blog posts.<br /><br />Although my last job contained a noticeable lack of directorial madness, it did possess a healthy dose of production chaos. The talent got sick, the equipment was delayed and we were down pretty much until a couple hours after lunch. There was no freak out by anyone. The director just relaxed and kicked back. And as the producer caught me up on the continual chaos happening around us I commented that he was amazingly calm too and he replied, "There's nothing else I can do, and stressing out about it won't help." I don't have to tell you that hitting the sane director/producer exacta is pretty much the harmonic convergence of film. He told me to cool my heels till at least after lunch. This meant I had five hours to kill.<br /><br />Now, I must explain to you a little bit about how I work. To me it's a bit of a game. I rev myself up before a shoot, so I come in ready to work with a fully charged brain, as I did on this particular job. But then, (cue the needle scratching record sound) due to the production shut down I had to grind to an immediate halt. <br /><br />To kill time I did the typical crew mingle...first I sat down with my favorite camera assistant, and we talked about his new girlfriend and my hopes and dreams for my film. Then just like at a party, you find the next crew person to mingle with. A wardrobe stylist came over and talked about her new boyfriend, then after her a grip sauntered over and complained about how this shoot may now run long, and he had plans with his kids and so on until my brain was no longer firing on all cylinders. It had pretty much turned into tapioca from all the idle chit-chat. I don't remember what we had for lunch, but it may as well have been turkey and stuffing. I was ready for a nap.<br /><br />Then, just as the camera assistant and I began our after-lunch conversation about his upcoming vacation, he was suddenly called to begin taking marks. <br /><br />Crap. <br /><br />Have you ever had one of those dreams when you're running through quicksand or moving in slow-motion? It was like that. I could feel fog hovering around my brain. I was struggling for lucidity, but I thought to myself, "I've done this for so many years, most of the job is like second nature to me. I can do this." I stood by the monitor and we began our day. The first set up went well, a few hiccups with technical issues but par for the course with all the other things going awry. <br /><br />I still felt foggy but was clicking along. Then the lead talent complained about the size of the pants he was wearing. The wardrobe chick ran in and answered happily that she had the next size up and would be happy to change him. Producer nodded and said talent walked off stage to be re-fit. <br /><br />Now, every scripty wannabe should pay attention to the following pro tip. Whenever an actor leaves the set to eat, pee, change, grab craft service, scratch something, etc., you always need to check them over when they come back to set. For some unknown reason the actors will decide to add some article of clothing/take one off/ change their jewelery/ you name it. Before you know it they are a walking continuity error.<br /><br />So, our lead actor came back on set, and I looked him over. Since my brain was still closed to incoming flights, I decided that everything was OK. Then, about 7 takes into the scene the agency guy noticed the actor didn't have his belt on. D'OH! So the wardrobe chick stopped flirting with a grip long enough to run and grab said unworn belt and placed it back on the actor.<br /><br />Now, every scripty at some point in their careers has missed something. You're only human. In this situation, in the overall scheme of things it really wasn't a big deal. Most of the shots of the actor were mediums and close ups, only a few wides, and since we'd only done a few takes, we'd have plenty to match up with the belt on.<br /><br />After that scene we had a break between set ups. I sat down in my chair feeling like crap and began to watch the camera assistant work. I found myself remembering the time he screwed up the camera back focus on a job to the point we had to do a full day of re-shoots, and then he blurred into the many other camera assistants I have worked with that have blown a shot here and there, or the producers who have screwed up a deal or two, or the actor that can't remember their lines to save their lives, or the key grip that messed up an equipment order. We're all human.<br /><br />As the clarity came back to my eyes I found my camera assistant looking back at me and smiling. All was well in the world. In the grand scheme of things I have made far more saves than errors, and that's about all anyone can hope for.<br /><br /><br />** A big thanks to Total Film for listing Script Goddess in the article <a href="http://www.totalfilm.com/features/600-movie-blogs-you-might-have-missed">600 Movie Blogs You Might Have Missed</a>Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com8tag:blogger.com,1999:blog-4623409287965884277.post-85003386837187268412010-01-02T11:14:00.000-08:002010-01-02T06:32:32.390-08:00Breaking Down A ScriptA Comment on my What do Scripty's Do all Day post read:<br /><br /><span style="font-style:italic;">Blogger Glemaud said...<br /><br /> This post was quite informative, and I can't think you enough for taking the time to write it. Being a beginning Scripty, it's hard for me to really get the ropes without anyone there to tell me what I'm doing right and wrong. I have read the Script Supervising book, and still had unanswered questions, in which I had answered in this post.<br /><br /> I would hope there are to be later installments similar to this, detailing other pieces of information (Continuity One-Liners, please!) I'd massage your feet, thrice daily were you to do that.<br /><br /> Thanks again.</span><br /><br />So for the promise of virtual foot massages, here is how I do a continuity One-Line:<br /><br />For some reason, breaking down the script is quite possibly my favorite part of the job. Step one is to make sure you have the latest version of the script, which should also be the version the AD is using for his/her one-liner (as fun as this is for me, it's amazing how it loses its luster when I have to do it a second time). <br /><br />A question I get a lot is, "what's the difference between the scripty's one-liner and the AD's one-liner?" The difference is simply that the AD one-line is in SHOOTING order, the Script/continuity one-line is in STORY order.<br /><br />I typically lay the script on the floor grab a sharpie, a ruler and my lap top. You can do it however you like, but for some reason sitting on the floor makes me think with more clarity. Just another one of my lovable quirks.<br /><br />I'll start out with the fun and easy part. With sharpie and ruler I will separate each scene by drawing a line across the page where each scene begins and ends. This will give me and the editors a clear indication of where each scene starts and stops.<br /><br />After the sharpie fumes die off and I no longer see music and hear colors, I do some mental gymnastics and assign page count. AD's typically work off a software that will provide page count for them, but I like to do it the old fashioned way. Generally speaking, a page of script equals a minute of movie. So if you have a 118-page script, that should turn into a 118-minute movie, give or take (depending on action sequences and such). That way as you time each day's coverage you can check it against the page count and you can easily tell if the movie is running long or not. This of course is predicated on the notion that the script is in standard script format. If the script comes to you written on torn out sheets of spiral notebook paper, well, then I just feel sorry for you.<br /><br />The next step is to divide the script pages into eighths. Stare at a page and image it divided into eighths (go ahead, I'll wait). If a scene starts at the top of the page and ended in the middle of the page that scene would count as half, or 4/8 of a page. A scene that spans an entire page would be 1 page. Now of course, not all scenes begin and end on a page so let's say scene 10 fills 1 page and then half of another the scene would be 1 4/8 page. <br /><br />I typically do my own page count then tweak it with the AD's page count to make sure we match up. If there's a huge discrepancy we'd have a page count throw-down, but I don't like to talk about those. They can be ugly.<br /><br />Filling in the one line breakdown from left to right it's typically, <br /><br />Scene #: (which you pull from the script starting on scene 1) <br /><br />Location: again pulling from the slug lines on the script (e.g. Ext. North Woods).<br /><br />D/N: Day 1 or Night 1. This requires you to read the script and determine when in the story time passes to the next day. Some scripts are easy to read as the slug line will tell you NEXT MORNING, or something to that effect. Sometimes you will have to place a call into the AD, writer or director to verify when the next day starts. Then your day count will read as D1 (meaning Day 1) then N1 (meaning night 1) next STORY day will be D2 etc. aligned with it's particular scene number. The day night progression is an extremely important part of your continuity one line which will become the bible for Wardrobe and Make-up.<br /><br />Page Count: which we already discussed.<br /><br />Characters: Enter the list of characters appearing in the scene.<br /><br />Scene Description: A very short sum up of the scene. Many an AD love to put their own personal spin on the scene description. I just give a quick sum up. It's never a good idea to try and out-funny the AD. <br /><br />For example a scene description might be "JAKE ARRIVES AT HIS CABIN". Primary importance is that it has to be clear succinct. Of secondary importance is to be amusing (like "KILLER MONOLOGUES" OR "AMY AND MARK MAKE THE BEAST WITH TWO BACKS"), stuff like that, of course always being respectful of the content since the writer will get a copy, as will all department heads.<br /><br />Then, make a zillion copies of the thing, bring them to the production meeting and make any changes when the new script pages show up (notice I said 'when' and not 'if').<br /><br />That's pretty much it. Hope that helps!<br /><br />My virtual feet await...Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com18tag:blogger.com,1999:blog-4623409287965884277.post-77928557375360115872009-12-21T05:50:00.000-08:002009-12-21T05:54:39.629-08:00Happy Holidays!Happy Holidays to my dear readers! <br /><br />Wishing you a year full of exciting jobs, good pay, nice directors, competent actors, wonderful producers, adoring crew, comfortable locations, and awesome craft service!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com2tag:blogger.com,1999:blog-4623409287965884277.post-81564837537651166122009-10-24T14:39:00.000-07:002009-10-24T22:41:49.493-07:00What Do Scripty's Do All Day?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_Nknl35UD860/SuOTXfOtbGI/AAAAAAAAAJY/ChSBjuzdlXY/s1600-h/log.jpeg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 247px; height: 320px;" src="http://4.bp.blogspot.com/_Nknl35UD860/SuOTXfOtbGI/AAAAAAAAAJY/ChSBjuzdlXY/s320/log.jpeg" border="0" alt=""id="BLOGGER_PHOTO_ID_5396318810249456738" /></a><br /><br />Recently I was invited to speak at a local college about what Script Supervisors do. I was worried the students wouldn't come to class that day since I'm not a director, a producer or some other position people have actually heard of. And those who did show up would either already know what I do, or were just coming to class to get a nap in before lunch. <br /><br />As it turns out everyone turned out ready for me to speak, so I talked about my life, my experience in film, how I got started, that I love cereal, and everything in-between, but I overshot my audience. I figured they wanted the flash, when they really wanted the mundane. How do you take notes? What do you look for during a shot? How do you prepare for the day? They asked smart questions and it ended up being a great class. Since I get a lot of questions emailed to me I thought I'd consolidate some answers and throw in some class content and share it with everyone.<br /><br />So, for you students out there or anybody who wondered what we write in our little books here it is. How to fill out an editor log.<br /><br />First of all, most of my information comes from camera and sound. The camera assistant will tell me what film roll/tape they are on, what film stock they are using, the lens size and any filters, which I write in the appropriate spaces on the log sheet. In exchange for that information I will then give the camera department the scene number (let's say scene 10) Then I will communicate with sound and find out what roll they are on as well.<br /><br />First shot of the day. I fill in all the information camera has given me, knowing that sometimes at the last minute they will drop in a filter or quick change a lens (but I'm ready for that) I write in the description of the shot. "Master shot of Carly and Leon in dining room" Then fill in the scene number in my log sheet as well.<br /><br />So, looking from left to right on the log sheet I have filled in the camera roll, sound roll scene number take number (we start on take 1) time we will leave blank until after the shot and I look on my stopwatch and note the duration of the take. Then add in lens, timecode (and clip # for HD) and description. <br /><br />With regard to timing I time the shot from start of dialogue to finish when I work on features, and action to cut on commercials. This fudges a bit and you'll become better with experience.<br /><br />And Action...after the first shot is in the can I write down the time in the time slot and then note take 2. I tell the camera assistant "2 up" and so we go. I notate after each take any subtle differences and make notes as to whether the director liked it or not.<br /><br />Then we go into coverage of scene 10. Our first shot was the Master 2 shot of Carly and Leon now we go into "coverage" of Carly which is a single. So the next scene would be called 10A. I fill in what film roll/tape in the column, sound roll, scene number, take number (one) time (after the shot) lens and the description "Single Carly in dining room"<br /><br />As we do our next turn around to Leon's coverage. The scene number becomes 10B and I fill in all the information as I did before talking with camera and sound and detailing each take of Leon's coverage.<br /><br />Each coverage piece of that scene 10 will get it's own number, and or if they change a lens each difference will result in going down the alphabet starting with 10A and continuing on skipping I and O as they look too much like numbers. If you get past Z (which I have had the experience on one movie) we go into AA, AB, AC and so on. I suppose one could get into triple letters but about that time I think the actors would be barricading themselves in their trailers.<br /><br />Then, it's off to the next scene, let's say scene 20 (as you know all features are shot out of order) And it begins again, I fill in my log sheet with camera information sound and the description of the scene, I assign scene numbers and a letter gets attached for each piece of coverage.<br /><br />That's just explaining the log sheet. On features you will take notes on lined pages and left had pages too! (that's a another post entirely!)<br /><br />Add to detailed note taking watching continuity, dialogue, screen direction, production notes, and flirting with the camera assistant (hey, it's not like the grips are going to do it), throw in some trips to craft service and you've kind of got what I do for a living!<br /><br />Want more info? Cant get enough about log sheets? ScriptE has a great resource of sample reports. Check it out <a href="http://www.scriptesystems.com/DigitalScriptSupervisingReports.aspx">Here</a>Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com8tag:blogger.com,1999:blog-4623409287965884277.post-44120620792732254712009-09-16T12:50:00.000-07:002009-09-21T19:28:26.913-07:00Oh No! Mr. BillYesterday, I felt awful for not posting in awhile (to be fair, I've felt awful several times, but yesterday it finally got to me). There are three really good reasons: a.) I have felt uninspired (and you deserve only what passes for my best), b.) I'm working on my own film project (a.k.a. the life-sucker) and c.) um, well, really it's just a and b.<br /><br />Then I thought, you know how at the bottom of my site, it says "Yes it's true, you dropped my laptop... but I'm still your fan!" and then there are a bunch of video clips of Bill Murray? I started to realize, that's been there since Script Goddess beginning yet, no one has ever asked about that particular story.<br /><br />So, since you never asked, here it is (that'll teach you not to ask):<br /><br />A long time ago, in a place far, far away, (really both those statements are honest truth) I was the young ambitious Script Supervisor and he was, well, Him. When he appeared on set for the first day of filming, I was sitting on an apple box, deep in concentration typing up the day's notes on my laptop. I heard this guy (Mr. Murray) greet all the crew then stopped in front of me, I looked up and he said "Nice!" I smiled and got back to work. To this day I'm not sure what was nice: my laptop, the fact that there was a Script Supervisor on set, or that I'm compact enough to fit on an apple box. <br /><br />The first shots were hectic and crazy. After a well-deserved lunch break he shouted as I was cruising past him towards set. "Hey, Scripty what's different about me huh?" Now, I had been around the block once or twice before, and responded, "You had lunch?" The crew laughed, and more importantly so did he. (I often wonder why I haven't been fired yet)<br /><br />During the next set up I noticed he wasn't wearing the jacket he had on in the previous scene. I politely reminded him that he needed his jacket. He began to yell at me about not wanting to wear his jacket and how he could have taken the jacket off between scenes and ranted and raved about this jacket to the point where I was embarrassed that I had asked him to put it on. He walked away and I, stupefied, cleared my head and turned to watch the scene and take notes. As the AD yelled "Last looks" who do I see put on his jacket as he smiled to me! Ohhh You! <br /><br />At another point during filming, as I was standing taking notes...just after a take...who saunters by and knocks the back of my knees out, almost causing me to fall! It was like having my older brother on set. This was pretty funny to all those who saw it happen...Nice.<br /><br />The next day we were filming a scene without Mr. Murray. I'm in deep work mode, so unless someone is about to set me on fire, my concentration stays on set. I do however feel someone leaning over my shoulder and breathing down my neck reading from my script. I don't smell lighter fluid, so I ignore it. Then the actor blows a line, and I throw a correction out. The actor questions my answer and the person behind me yells "She's right!" Yes, it was Him!<br /><br />We worked late into that evening and we all were getting pretty exhausted. Towards the end Mr. Murray came up to me in a well held in anger and said through clenched teeth "How...much...more?" And I told him only a few shots left.<br /><br />So, as we went to a fast turnaround, everyone pitched in to move stuff, even Mr. Murray. He went for my book bag, which had my laptop sitting in it loose. "Oh," I cried "I can get that!" but too late, he had picked up the bag and out popped my laptop which clattered to the ground in that "don't do this to your laptop" kind of way. He looked at me sheepishly. Fortunately the laptop survived the encounter, and I actually still use it (thank you Apple).<br /><br />I can't tell you what a joy it was to watch him work, funny irreverent and loved to annoy the scripty! And a true sign of grace greeted the crew at the beginning and end of the show!<br /><br />As we all were saying our good-bye's, I remember he said to me "I'll see you again!" And I did! Only during one more show and I don't remember him teasing me as much. So, Mr. Murray, even though (or maybe it's because) you fought with me over a jacket, knocked out my knees, breathed down my neck...and dropped my laptop I'm still your fan!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com6tag:blogger.com,1999:blog-4623409287965884277.post-59040615222354230082009-07-20T07:23:00.000-07:002009-07-24T17:47:53.811-07:00Script Supervising? There's an app for that.As I've said before years ago I wanted to make a computer program for script supervisors. I figured I would easily become rich and own my own private island in Dubai. So, I told all the techie people I knew about my idea, but no one took the bait. Well, then again, I only knew like two techies, and I didn't try very hard... that might have had something to do with it.<br /><br />Anyhoo, as a result, whenever I find out about some scripty software, I'm pretty darn happy for the person who came up with the idea and ran with it. Or maybe I'm jealous. Hard to say, I go back and forth...<br /><br />Here is a new one just on the market and like everything else these days, it's for the iPhone. It's called <a href="http://www.andris.co.uk/actionLogPro.html">actionLog Pro</a> and if it does what it says...well, how portable would that be on set? So now, you've got your phone, your iTunes, your Internet, your Magic 8 Ball, your spin the bottle game, and your log book all in one place! <br /><br />I hope the best for this guy and his idea, and if any of you have a chance to use it, send me feedback so we can post some reviews.Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com3tag:blogger.com,1999:blog-4623409287965884277.post-19694695357803979572009-06-09T14:51:00.000-07:002009-06-09T14:55:41.371-07:00The Vendor Client Relationship<object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/R2a8TRSgzZY&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/R2a8TRSgzZY&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br />This is so very true! I can identify with the line "We're gonna make it up on the next one" Enjoy!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com7tag:blogger.com,1999:blog-4623409287965884277.post-30381663142182275952009-05-03T07:10:00.000-07:002009-05-03T10:23:21.188-07:00What If Film Crews Ran The World?<object width="500" height="315"><param name="movie" value="http://www.youtube.com/v/rMxtNj5Vyos&hl=en&fs=1&border=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/rMxtNj5Vyos&hl=en&fs=1&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="500" height="315"></embed></object><br /><br />When I started in film and saw how film crews could make anything happen as if by magic, I thought that if there were ever a world crisis, sending a bunch of PA's and a couple of good producers would solve it. <br /><br />Then a few years ago, I nodded with agreement when I read about the Tsunami in Sri Lanka and Nate Berkus running into a producer. He said in the <a href="http://www.oprah.com/slideshow/oprahshow/oprahshow2_ss_20050117/6">article:</a> "In that situation where everything and anything's unfamiliar and Annie and I started talking, I learned that she had been a television producer for the BBC," Nate says. "And if there's one thing that makes me feel comfortable, it's a television producer. And I thought, 'Okay, this is somebody who's gonna be organized, have it together, be able to coordinate everything that needs to be coordinated, and we just looked at each other and I think at that moment, there was just kind of a trust there between us." <br /><br />Of course these days we are in a number of world crises: (in no particular order) Medical, Environmental, Political, Ideological, Financial, and so forthal. (just keeping with the pattern for a moment) If ever we needed to deploy a bunch of really good PA's and some amazing crew it's now. Get some good grips and electrics to work with creating a better use of energy, get some UPM's to go after the economy, get some greenspeople to go after the environment, get some producers to make all the countries work together, send catering to help with the hungry, get some set medics to help with the health crisis....um, well, actually I've only seen set medics hand out band-aids, but I'm sure they have more talent than that. And well, I'm not sure what department would help with religion, but we're a creative bunch we could come up with something. <br /><br />So, I guess I hope that if film crews really ran the world they would do greater things than help a bride with her wedding.Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com8tag:blogger.com,1999:blog-4623409287965884277.post-88377221725096449612009-04-10T05:00:00.000-07:002009-04-10T07:06:01.840-07:00My ShadowI am soo sorry I have been away for awhile! I have started in earnest working on my own project. And boy does my heart go out to those who do independent film. It really is quite the process, sucking up all of your life. So, I will be posting less frequently but please keep the e-mails up!<br /><br />Two, readers are thinking alike these days and sent me the following e-mails:<br /><br />Hi,<div>I came across your website as I was looking for resources on Script Supervising. I've been working in production for over 5 years now, but have recently gotten into Script Supervising and absolutely love it. I've done Script Supervising on a couple of projects now but have never actually had any training in this field. I just bought a copy of Script Supervising and Film Continuity and used that for guidelines on the projects I did. Luckily, both my Directors were impressed with me. Little did they know...</div> <div>I've been looking for some sort of apprenticeship or training to get more experience. I would love to learn from a pro. Do you have any suggestions?<br /><br />****<br /><br />Hi,<br /><br />Thanks for all the great info on your blog. As a new Scripty, it's<br />indispensable to hear on-set anecdotes from a veteran. I'm writing to ask if<br />you would be open to having me shadow you sometime. I've shadowed another<br />veteran Scripty and would just love to do it again.<br /><br />I've been Script Supervising for about a year and half now and have 75<br />non-union days under my belt. Anyhow, as I said, love the blog and figured<br />I'd ask!<br /><br /><br />*******<br /></div><br /><br /><br />Now this is the true frustration of this career. We are a department of ONE. As other crew members start out in film, say a young camera PA. He or she can start out in that department and learn how to move up to loader, 2nd, 1st, operator and hopfully D.P, all the while learning from their department how to work in film. And as they mature in the world of film they can begin to learn and closely watch how the D.P. handles certain lighting situations, how the D.P. communicates with their crew. They can learn behaviors that as they rise up the camera department ladder they can emulate and strive to become that model D.P. they aspire to be.<br /><br />Scriptys, well we're just winging it so to speak. Sure we learn through experience from each and every job we do, we take away a note here or a remember to look at the actors jewelry after lunch there. But really when it comes down to set behavior and having someone to emulate. We would have to find a scripty on a big show and hang with them.<br /><br />Now, I have had the opportunity to spy on scriptys only a couple of times, and it was while I was the 2nd unit script supervisor. But I was so green that I really watched how they did the job, but you know, not really the finite aspects of it, like how they handled sticky screen direction arguments, or how they reminded larger than life egomaniac actors their dialogue, and just how they functioned. What was their set demeanor?<br /><br />I took only a couple gems away from each scripty. On one film during lunch a crew member asked the scripty "How behind schedule are we" She replied " I keep track of enough shit, that's the AD departments concern" I learned from her I didn't need to know EVERYTHING. Another scripty told me that she wrote everything down on her sides (little script pages) because "I can't remember shit somedays" And I learned that I didn't have to be a computer.<br /><br />I also ask friends of mine about the scripty's they've worked with, what were they like, what made them seem "amazing". Last night I did the same, I knew a D.P. friend of mine had worked on a low budget film in another state. "What was the scripty like?" and he said "Awful" This peaked my interested, "How exactly" I asked. "Well" He explained "You couldn't get an answer from her, I'd have a question about a previous scene and she either couldn't answer it directly or she'd look at her goofy notes and even she couldn't read them, so we'd have to go and look through playback to answer the question" Of course that did not give me any ideas on how to improve myself, I just hope that scripty was green and that project was a huge learning experience for her.<br /><br />So, yes, if you can find a willing scripty to shadow it's a great idea, just make sure she/he's a good one or you might learn some bad habits! Other than that, it's working 2nd unit, talking to editors, and gleaning info from others. Oh, and reading this blog might help too. I hope!Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com4tag:blogger.com,1999:blog-4623409287965884277.post-17637220636128575042009-03-15T05:42:00.000-07:002009-03-15T19:44:14.827-07:00How To Work With A Laptop?<span style="font-size:100%;"><span style="font-family:arial;">I love reader questions, not only because I don't have to write some lame story about my life on the set, but because I hope it's answering some of the burning questions you have out there in cyber space, and that my blog might, just might be of some use to my faithful readers!<br /></span><br /><span style="font-style: italic;font-family:arial;" >Dear Script Goddess:</span><br /><br /></span><span style="color: rgb(0, 0, 0);font-family:Arial;font-size:100%;" id="role_document" ><div style="font-style: italic;">I am taking the ScriptE training seminar this weekend. I've resisted the transition, fearing I would not be mobile enough to be within ear shot of the director/dp/ad at all moments of the day, to stay on the same page they are on. But my production friends are advising me that I will be losing work over taking my notes by hand. I can see that production loves the jump drive hand-off over copying notes, and delivering or faxing them to the transfer and editor.</div> <div style="font-style: italic;"> </div> <div style="font-style: italic;">I am concerned about how to manage all the stuff that goes with a laptop....cables, switchers, etc. How do you manage to move your portable laptop stand, with all the extra stuff, cables etc. when on location? I've never been one to expect the PA's to move my stuff, and sometimes they are nowhere to be seen when you break a set-up and need to move. Would you please share some detailed thoughts on how to manage sitting near the director with my bulky new laptop stand, and how to move all the stuff around....especially on a hectic location shoot. It seems like my kit will certainly double in weight and bulk. And what if there is room for a scripty to crouch in a small room, but no room for stand and chair? Do you take notes by hand and then type into the program later?</div> <div style="font-style: italic;"> </div> <div style="font-style: italic;">I did recently hear that VTR operators hate it when scripty asks to borrow a cable for downloading video stills, and when moving to the next location, drops the cable for him to wrangle. </div> <div style="font-style: italic;"> </div> <div><span style="font-style: italic;">Thanks for sharing your ideas!!!!</span><br /><br /><br />As I have stated before I do use my laptop on any and all stage shoots, but when it comes to location work, I do it old fashioned. Mainly because I'm old and hate lugging stuff around.<br /><br />That said I did round up some professional laptop users to give you a better perspective:<br /><br /><span style="font-weight: bold;">Reagan says:</span><br /><br /><span style="font-style: italic;">The only basic cable you need is your power cord to your laptop and maybe a cube tap. If you want to do video capture, make sure you have your own cables. Don't rely on VTR. And yes, they probably will get angry at you for using their cables. All my equipment: laptop, file folder, cables/switcher, extra battery, laptop stand, and printer if needed fit all in my back pack. (I got my backpack from REI since their backpacks are bigger than standard ones.) I'm in my 30's and my back can still handle the load I have to carry. When my back can't take it any more, I'll switch to a small rolling cart or bag. I can get up and move just as fast as with paper and pen. I have my own script bag, which is very helpful on moves. I just shove everything loose in there and easily move to the next location.</span><br /><br /><span style="font-style: italic;">Production and editing love the electronic notes. I email them out to everyone who needs them. I just purchased the Internet connect card to be able to email paperwork out when I'm at a location where there isn't any wireless signal.</span><br /><br /><span style="font-style: italic;">Getting up and moving isn't as tough as you might think. If I'm connected to the monitors and we have to move, I just unhook everything from my laptop and leave it on the VTR cart as we roll to the next location. None of the VTR's I've worked with ever minded me leaving my cords on their cart as we moved. Now, if I didn't gather them up every night, then they would probably get angry. And depending on where you are, sometimes you won't be able to do video capturing. I just put, no image.</span><br /><br /><span style="font-style: italic;">The camera department will most likely get angry if you try to get a feed directly from the back of the camera. I've heard of scriptys who have gotten yelled at for it.</span><br /><br /><span style="font-style: italic;">If we're on the process trailer, I usually take my laptop and the sides with me. I write down the info on the sides and after cut, I just transfer them to the laptop. If it's raining and there isn't a pop up tent, I put my laptop away in my waterproof bag and take notes on my waterproof paper, then transfer the notes later. Since laptops do make a little noise, and if we're very close to the mic, I just turn it off and take notes on the sides. When we're moving onto another set up, I turn it back on and transfer the info. I do save everything to a </span><span style="font-style: italic;" class="yshortcuts" id="lw_1236107297_0">4GB flash drive</span><span style="font-style: italic;"> after every set up. And I also research where the closest Best Buy is from the location just in case I need to run out and grab another laptop if my primary one happens to die. (I did have a back up, but the mother board finally died on me after 6 years.)</span><br /><br /><span style="font-style: italic;">I now have started carrying a small complete script which I take notes on more than sides. I still have the full script in my file folder just in case something happens to my laptop and I need the script. Both work and fits perfectly in my backpack. Also everyone says I look like I've going hiking.</span><br /><br /><span style="font-style: italic;">I was a little scared at first to trust my laptop, but I soon got confident that it can handle what I do to it and the environments I take it in.</span><br /><br /><span style="font-weight: bold;">Tony says:</span><br /><br /><span style="font-style: italic;">Hello Scripty,</span><div style="font-style: italic;"><br /></div><div style="font-style: italic;">Cabling all depends on the job.</div><div style="font-style: italic;"><br /></div><div style="font-style: italic;">If you have a VTR operator on the job, they should handle your cable for you. Of course, we should be grateful and friendly but cabling is their job.</div><div style="font-style: italic;"><br /></div><div style="font-style: italic;">If there is no VTR then the local 600 person (CAM IN NY) will run the my cables.</div><div style="font-style: italic;"><br /></div><div style="font-style: italic;">Non-union - anything goes.</div><div style="font-style: italic;"><br /></div><div style="font-style: italic;">As far as weight. I'm now working with an InStand computer stand, which is very stable and easily portable and light. If I have to leave one set and quickly move to the next for rehearsal. I put on my back pack, unplug the video cables, pick up my stand and move. I can do the entire move in the same time it took me to pack away my old binder in the past. Another plus is that I can stand or sit to work. My stand can be clamped to a car rig or process trailer and it even has a hood so I can work in direct sunlight without any glare. </div><div style="font-style: italic;"><br /></div><div style="font-style: italic;"> I'm also able to get away from the click clack of blackberries in video village (if I need to) and move my stand just off camera onto set. This is particularly valuable when I need to read off-camera lines, or feed lines, or to get closer to a director that uses her own monitor or stands beside camera and watches the onboard monitor of the camera.</div><div style="font-style: italic;"><br /></div><div style="font-style: italic;">My computer is fastened securely to my stand via heavy duty velcro, so I often just close the lid and carry it fastened to my stand. Whomever wrote the question saw all this at the ScriptE demo 2 day training seminar we held in LA this past weekend. <span class="yshortcuts" id="lw_1237170192_0">Script Supervisors</span> can now get a 5% discount on all InStands and accessories purchased through the equipment page on the ScriptE website:</div><div style="font-style: italic;"><a rel="nofollow" target="_blank" href="http://www.scriptesystems.com/DigitalScriptSupervisorEquipmentKit.aspx"><span class="yshortcuts" id="lw_1237170192_1">http://www.scriptesystems.com/DigitalScriptSupervisorEquipmentKit.aspx</span></a></div><div style="font-style: italic;"><br /></div><div><span style="font-style: italic;">As far as size - even a 15" laptop is smaller and lighter than a full 4" binder. With my Instand, I can stand to work and fit in spaces where I could never work with a paper script.</span><br /><br />Hope that helps! As always anyone else is free to comment!<br /></div><br /><br /></div></span>Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com7tag:blogger.com,1999:blog-4623409287965884277.post-52382409917641877442009-03-07T11:41:00.000-08:002009-03-07T07:46:47.864-08:00Remembering Brent** This is a re-post from last year..(including the first three comments) I plan to post this every year to remember Brent**<br /><br />I was recently given a link to Haskell Wexler's site on <a href="http://www.whoneedssleep.net/Site/Welcome.html">Who Needs Sleep</a>.<br /><br />And I remembered...<br /><br />Several years ago I was very fortunate to work a movie with Brent Hershman. Brent was an incredibly funny and very nice camera assistant. I was a bit green at the time, but Brent really made me feel at home on the set. The kind of person a "newbie" never forgets. A few short years after that job, Brent was working on another feature. After a 19-hour day of filming, Brent jumped in his car and headed home. He had promised his daughter he would be there the next day. Tragically, he fell asleep at the wheel and crashed into a telephone pole. It’s still surreal to think about such a senseless loss.<br /><br />After Brent’s death there was a movement in the film community for “Brent’s Rule” where production would have a limit on how many hours they could work a crew. Sadly that movement has been slow going.<br /><br />We often pull long days working in film. Pretty typical of the job actually, and everyone accepts it as part working in the film industry. But at what cost? Does it really save the production money paying overtime and exhausting the crew instead of filming at that location for another day? Some production bean counter will have to explain that to me. And then factor in the cost of losing someone like Brent. How much is a life worth?<br /><br />There is hope... during my last movie, we had already done 16 hours in a smoky bar. The next scene scheduled for our day was an exterior of an actor leaving the bar. This would have required a company move outside, time to film it, and then time to wrap, clearly putting us well over the 20-hour mark. The gaffer on that job asked me if I felt we needed to get that exterior shot. I indicated to him that those additional shots could easily be covered with a 2nd unit on another day. So, when the A.D. asked gaffer and key grip if the union would be OK to continue the shoot day, the gaffer said NO, the crew was done. So we wrapped and went home. I was happy that the gaffer stood his ground and put his crew first... and most importantly production listened to him.<br /><br />There are also several famous directors and producers that run such an efficient schedule they rarely put in long days. (I have yet to work with those guys...but knowing they are out there is a good thing!)<br /><br />So, to those of you reading this, do me a favor. Whether you work in the film industry or not, remember if you are leaving a job exhausted…grab a caffeinated beverage, run cool air in the car, roll the window down and blast the radio.<br /><br />Better yet, book a hotel.<br /><br />Doctors say losing sleep can have the same effect on response time and driving skills as someone driving under the influence of alcohol. Take precautions. I want you to be around to comment on my next post!<br /><br />"The Longest Day" an article about Brent in <a href="http://www.time.com/time/magazine/article/0,9171,986226-1,00.html">Time Magazine</a><br /><br />Video from Haskell Wexler Who Needs Sleep:<br /><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/OfZdtGdMA_8&rel=0&color1=0x234900&color2=0x4e9e00&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/OfZdtGdMA_8&rel=0&color1=0x234900&color2=0x4e9e00&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object>Scriptyhttp://www.blogger.com/profile/11529903218762576548noreply@blogger.com7