Script Goddess

What Do Scripty's Do All Day?

2009-10-24T14:39:00.000-07:00

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.

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.

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.

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.

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.

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.

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.

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.

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"

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.

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.

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.

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!)

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!

Want more info? Cant get enough about log sheets? ScriptE has a great resource of sample reports. Check it out Here

Oh No! Mr. Bill

2009-09-16T12:50:00.000-07:00

Yesterday, 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.

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.

So, since you never asked, here it is (that'll teach you not to ask):

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.

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)

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!

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.

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!

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.

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).

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!

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!

Script Supervising? There's an app for that.

2009-07-20T07:23:00.000-07:00

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.

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...

Here is a new one just on the market and like everything else these days, it's for the iPhone. It's called actionLog Pro 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!

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.

The Vendor Client Relationship

2009-06-09T14:51:00.000-07:00

This is so very true! I can identify with the line "We're gonna make it up on the next one" Enjoy!

What If Film Crews Ran The World?

2009-05-03T07:10:00.000-07:00

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.

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 article: "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."

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.

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.

My Shadow

2009-04-10T05:00:00.000-07:00

I 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!

Two, readers are thinking alike these days and sent me the following e-mails:

Hi,

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...

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?

****

Hi,

Thanks for all the great info on your blog. As a new Scripty, it's
indispensable to hear on-set anecdotes from a veteran. I'm writing to ask if
you would be open to having me shadow you sometime. I've shadowed another
veteran Scripty and would just love to do it again.

I've been Script Supervising for about a year and half now and have 75
non-union days under my belt. Anyhow, as I said, love the blog and figured
I'd ask!

*******

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.

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.

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?

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.

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.

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!

How To Work With A Laptop?

2009-03-15T05:42:00.000-07:00

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!

Dear Script Goddess:

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.

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?

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.

Thanks for sharing your ideas!!!!

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.

That said I did round up some professional laptop users to give you a better perspective:

Reagan says:

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.

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.

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.

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.

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 4GB flash drive 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.)

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.

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.

Tony says:

Hello Scripty,

Cabling all depends on the job.

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.

If there is no VTR then the local 600 person (CAM IN NY) will run the my cables.

Non-union - anything goes.

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.

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.

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. Script Supervisors can now get a 5% discount on all InStands and accessories purchased through the equipment page on the ScriptE website:

http://www.scriptesystems.com/DigitalScriptSupervisorEquipmentKit.aspx

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.

Hope that helps! As always anyone else is free to comment!

Remembering Brent

2009-03-07T11:41:00.000-08:00

** This is a re-post from last year..(including the first three comments) I plan to post this every year to remember Brent**

I was recently given a link to Haskell Wexler's site on Who Needs Sleep.

And I remembered...

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.

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.

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?

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.

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!)

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.

Better yet, book a hotel.

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!

"The Longest Day" an article about Brent in Time Magazine

Video from Haskell Wexler Who Needs Sleep:

Buon giorno!

2009-03-04T18:10:00.000-08:00

So, this totally made my day:

Hi! I'm an Italian script supervisor (much more veteran than you are, I'm afraid...). I've often read your blog which I find brilliant, you are very talented in writing. But what I like the most is to discover that movie people are quite the same all over the world! In Italy we might have lower budgets and produce a very few movies per year, but my god the directors are made with the same mould! And not only the directors... and if you don't mind I would like to link your blog to our association's website (www.aiarse.it).

Good bye and...good luck! ;-)

I'm not sure I agree with the "talented writing" part, but hey, I'm not above lapping up a little flattery now and then!

Keep the e-mail's coming!! My whole point in doing this was to have a place for Scripty's from around the world to come together and talk about our craft. And don't forget to check out the link!

Can I Get An Oil Change With My Sandwich

2009-02-18T05:00:00.000-08:00

I didn't write a blog post last week because I knew I would be working with one of my favorite idiot screaming directors. No not Mr. Evil. Just a director that falls into the screamer category and who's generally harmless. I figured I'd come home with several blog posts from the job....

Day 1 Interior shot lots of extras, confusion, tension, trying to get the first shot of the day in the can. Just as we're getting ready to roll a newbie producer runs up to the monitor and points out several spots on the screen. "Look at that!, What is that?" Now, being the old scripty that I am, I know that the spots she's referring to are on the ground glass (of the camera) but it's not my place to correct her. I just looked to the director as did she. I had my pen in hand ready to chronicle his first rant. He paused for a long time (possibly doing his anger management 10-count), then respectfully said. "It's just on the ground glass nothing to worry about." Crap!!!! And this un-blogworthy behavior continued for the rest of the job. He was polite, funny and at one point during down time he even asked me how things were going. We enjoyed a nice conversation (the nerve). There may have been some accidental bonding. Dang.

But fear not gentle reader, I can always find something about which I can rant. For example, our eating location. For those civilians out there, many film jobs are shot on location, and thus we break for lunch at said location. During my tour of duty I have dined in more garages than I care to admit. I have had lunch in a strip club, a bar, an animal shelter, a homeless shelter, a vacated senior home, and a former hospital...but none faded my appetite more than this location did.

Lunch was being made and served in a small-engine workshop. If it wasn't unappetizing enough knowing that the meal was to be served in this petroleum and carcinogen-laden hole, but it also was being cooked there. I watched the craft service girl/catering cook clear her work station of old greasy carburetors and fan belts before setting down the cook stove. Attempting to give common sense a nudge I meekly asked, "Isn't the oil smell bothering you?" She fanned the air towards her face and took a deep sniff, "Oh, I love this place, the smell, the parts, this is awesome!" For you maybe. My eyes began to burn from the wood stove/benzine smell and I wandered outside shaking my head, not only to clear away the haze that was forming around my peripheral vision, but also pondering why in the world someone would think this was an OK place to have lunch. One of the grips saw me and asked what was wrong. I declared my reluctance to eat in Gasoline Alley and he said, "Yeah, they probably could have found a better place." Then he shrugged and said, "Oh, well."

As lunch neared the camera assistant commented on his disgust of the dining locale as well, and I smiled at him. I had found a brother in arms. We decided to forgo the Wing Nut Primavera instead opting for six bags of chips and a couple of snack bars. We enjoyed our "lunch" sitting on the tailgate of the truck, not sure if our choice was healthier, but we both felt safer having inhaled less benzine than the rest of the crew.

Care to share your most interesting lunch location?

Kissing Up

2009-02-02T05:00:00.000-08:00

A while ago I was chatting with another scripty friend of mine and we laughed about how we used to think that the way to scripty heaven (non-stop work) was to kiss up to the director. Why not? We stood by and watched young camera assistants kiss up to their D.P. and voila! They became part of his camera crew.

So, similarly we figured that by getting into the director's good graces the same thing would happen. But after many years of watching a non-stop cavalcade of directors get spat out by the Hollywood machine I began to see my evil plan was not going to work. Directors either went back to their "acting roots", quit the biz altogether, or became bitter, irate commercial directors. Caveat: Yes it's true, some directors are uber loyal to their scripty...but you have to have lightening strike twice, you have to connect AND he has to continue working!

So who's a sugar-daddy-less scripty supposed to kiss-up to? Well, the producer, UPM, production coordinator, craft service...everyone really. One day production assistant, next day producer is really true! And producers (good or bad) seem to be less disposable than directors and hang around the industry longer.

My point is I learned not to just focus on showing off your stuff to the director. I remember on one job, I began to chat about my job to the key-grip. He was very interested and began to watch me work. After that movie wrapped, I started getting calls from his commercial clients for work because he had recommended me. Just goes to show, you never know who will tell someone about you. It pays to spread the love around (I'm speaking metaphorically here, although the literal way would probably work too).

But be careful how you kiss-up. I would guess that most producers can spot a sloppy kiss-up a mile away. I prefer to make friends, that way if they do hire me on a future production great, if not, I have made a friend and in the end, I'd rather keep the friend.

p.s. Hello to my reader in South Africa!

Happy Absurdity

2009-01-23T05:00:00.000-08:00

My friend was pondering "Happy Absurdity" recently and I told her that it happens to me on most film jobs, and I started to remember....

Take a HOT day, an indecisive client, a crabby director and an ever increasingly irate crew...stir together and you've got a long torturous day. Then add to that the final ingredient, client direction that was mind-blowingly ridiculous, and you've got moments of happy absurdity. Those are the moments when things are so bizarre, so surreal, so WTF goofy, that you get that warm, giggly feeling.

At one point the producer asked me to keep track of the time it took us to do several new shots the client just came up with. I was happy to take detailed notes on this insanity, since by coming up with last minute changes we were now headed down the road of a 20 plus hour day.

For example one client epiphany was to have the actor really portray how good the product smelled. So we did take after take with the client yelling at the director, "Do it again, and I really want to see her smelling the brats! Make her FLAIR her nostrils more!" I'm not quite sure how one flair's their nostrils without looking ridiculous, but our actress made an honest attempt. Of course it never really worked on screen as she just kept looking like she was either going cross-eyed, or there was something seriously wrong with her nose.

Then the client decided to throw out the director's shot list. The director defended his vision... in vain... because we all know, client and agency always win, no matter how ridiculous their ideas are, we always end up shooting the shot where the actor over reacts to the action. For the client of course.

Around hour 18 during a re-light, I slid down and crouched behind a chair in the home we were filming at. Partly to get out of the way of grip and electric, but also partly to hide. A few moments later the camera assistant saw me and snuggled in next to me. I smiled at him and he at me and we didn't say anything. We just hid there like a couple of kids who sneaked out of bed until they called for us. Happy absurdity.

We wrapped that shoot day around 3am. Even though it was a strange day. I remember feeling very happy that in a few weeks I would receive a very fat pay check for a most absurd work day.

Happy New Year

2009-01-03T14:26:00.000-08:00

Wishing you a year full of exciting jobs, good pay, nice directors, competent actors, wonderful producers, adoring crew, comfortable locations, and awesome craft service!

Last year's resolution was to be more green on set. Which I feel I have done quite nicely thank you very much, re-using my water bottle and all.

This year my goal for this blog is to get more scripty involvement. Yes, that's YOU out there. I know you are reading...let me know your thoughts!!!

Personally my goal is to notch up my career creatively. After 16 years as a back seat driver, I am looking to branch out. I have a couple of ideas and not certain where they will take me, but if nothing else they will be interesting to try. And hey Universe! Yeah you, the one with the dark, ironic sense of humor. Are you listening? If I fail that's OK. I just want to try.

P.S. To the person who searched "How Important is a Script Supervisor" I would like to answer: VERY!

Scripting and the HD-Digital Age

2008-12-18T11:02:00.000-08:00

A reader question:

Hi! I've been reading your blog for most of this year and just started script supervising. I will be working on a student thesis film and they are shooting with a Panasonic HPX-3000. It uses hard drives instead of tapes. Do you use time code only? Or list the hard drive? ( But, the hard drives get switched out repeatedly.) I appreciate any advice you have. Thanks for your time.

The best advice I have is to take all the notes you can get. Yes, get the drives and the timecode. However, even with all this new technology sometimes getting all that information can be tricky. Back in the old days working film, camera assistants called out roll changes we used slate numbers instead of timecode. I could be quite a distance from camera and this process would work as long as I was able to communicate with camera. With digital if you don't have some way of getting timecode you are flying blind.

I recently worked on a job where we shot out in a field for five days. During the first set-up the camera department rolled their eyes at me when I asked for timecode to be generated to the director's monitor. They grumbled and said no. They were not going to even have a director's monitor...not enough cable. Ok, fine.

Here's when you need to be uber-nice to the camera boys...(Yes it's true professional politeness gets you farther than being an ass) I asked politely if they could enter the time of day into the camera (which they did). I synced that time with my stopwatch time. That way for me to know the timecode at the start of a shot, all I had to do was look at my stopwatch.

Now for those scripty's looking for software that may help out this situation I turned to my friend Tony from ScriptE to see what his system offers:

Good Morning Script Goddess,

Happy to tell you a little about ScriptE and logging timecode.

TIMECODE CAPTURE:

We built a timecode clock into ScriptE. You simply synch up (jam) your lap top by connecting a 1/8" (or mac mini) cable to any timecode source then disconnect and work cable-free all day. This works for any free run timecode format (NTSC drop or non-drop frame, PAL drop or non-drop).

The sound mixer or camera operator may look at you funny when you line up to jam your laptop but your editor will love you! ScriptE's timecode clock is rock solid and you only need to jam it once in the morning and then you are good to go all day -- (just like a smart slate).

Once "jammed", ScriptE will then marks the timecode whenever the ScriptE operator hits their stopwatch icon. You can even mark timecode in and out for multiple instances within a take. Our commercial ScriptE users love this feature. So rather than writing "director preferred the 15th attempt at opening the ketchup bottle in take 12", You just hit a button and give the editor a concrete timecode landmark.

We've even created a special "Timecode Log" that incorporates elements of a traditional editor's log with these TIMECODE MARKERS as well as CAPTURED REPRESENTATIVE STILLS from each take.

We're headed to LA for our first 2 DAY INTENSIVE TRAINING SEMINAR (FEB 28-MARCH 1). And we'll be holding product demo's FEB 27th, MARCH 2-3). Announcements will go out later this week. Hope you and some of your readers come by to visit.

We'll be posting updates on our website:

http://www.scriptesystems.com/

All the best,

Tony Pettine

ScriptE Systems

Any scripty's care to comment?

UPDATE: Via e-mail another scripty told me her solution...I don't have a timecode grabber, but what worked for me on some shoots was hooking into the monitor that had the timecode running on it and I used a video capture device to basically capture the timecode from the screen as well as capture other screen shots. Of course I had to manually type it in, but the timecode was there in a screen shot.

Today's Speaker Is...

2008-12-08T18:03:00.000-08:00

Several years ago for reasons I've long since forgotten, I had an urge to speak to college students about my career. Logical really when you think about it. Who wouldn't want to hear from a Script Supervisor? So, I called my Alma mater and spoke to the film studies professor. I told him I was an alum and gave him my 60 second resume. He sounded interested and said, "Well, we'll see if we have any funding for this."

"No," I replied, "I'd just like to come and talk, no compensation needed." He acted as though he'd never heard those words in that particular order before. He um'ed and er'ed and said he would get back to me. Feeling confident I started planning my triumphant return to the university. Yet, no call came.

The following year I bugged him again. Yes, he remembered me and he would contact me if the need arose for a speaker. A distinct lack of phone ringing.

I began to look at who was getting these obviously hard to come by invitations to speak at colleges and high schools. I discovered producers, directors, actors, independent filmmakers and in one case, an extra. AN EXTRA!

For some reason I was not sexy enough. Well, I'm actually pretty darn sexy (if I say so myself), but my job was not. I've worked on over a dozen features, including some big budget studio jobs, but a guy who has gone out and made ONE independent film that was viewed by exactly eleven people is suddenly capable of being a knowledgeable speaker. My sixteen years of film experience didn't cut it, but some clown works for two days on a 90 day feature as an extra gets a speaking gig? Go figure.

I turned tail, I did not pursue speaking engagements actively. But if I ever met someone from a film school, I would idly drop the hint that I'd love to come out and talk.

Then one day I met this high school teacher. I told him I'd love to talk to his students. He gave me the same consideration everybody had before, "Oh, that would be great! I'll definitely keep you in mind." Yeah right. And then let's do lunch sometime.

He called.

Oh joy, oh joy, oh joy!!! He called me on Thursday and asked me to speak the following Monday (TODAY!). Eep. I had the weekend to prep. Suddenly the speech I had rolling around in my head for the last five years was about to be realized. For me this was my Oscar speech. Only without the Oscar. Or the swag bag. But who cares! I was going to make a dream come true!

I wrote furiously, searched through photos, storyboards, scripts, sides, anything I thought they might be interested in. I practiced in front of the dog (she's not very attentive, but she gives good feedback).

Then it happened...I spoke in front of 40 high school film students. I told them what it was like to work on a film set, how we take a scene from a master into coverage, how the film process is shot out of order, how important it is to have your actors match action for editing, I showed them what a call sheet looks like, what storyboards look like, and as a handout had a great diagram of a film crew listing all the departments and who they report to. I spoke with glee for and hour and a half. I made them laugh and they even asked questions!

At the end of the day, the teacher said he would love to have me back next year. We'll see if that actually happens, but for now, I'm happy that 40 film students know what a script supervisor does. Who knows, I may work for one of them some day.

I try not to think about that too much.

I Wish I Would Have Been Fired

2008-11-25T05:00:00.000-08:00

No work recently....I mean the tumbleweeds are blowing down my street. I haven't wished for the phone to ring this badly since 8th grade when I had a crush on Billy Olson. Of course he didn't like me back. Gosh, he was cute...

Where was I?

Anyhoo, with no work comes no witty and insightful commentary on the state of the industry today, so I thought I'd regale you with a story from my past.

I'll pause for those of you who want to slip out to see what Blood, Sweat and Tedium is blogging about today.

Still here? Great!

Many years ago, I applied for and got my first movie job as an office PA/receptionist. On my first day the production coordinator (who I would later learn was the most evil, vile, demon spawn to ooze the earth... but that's another story) haphazardly showed me how to use the phone. I was so nervous, and this new environment seemed like a war zone. But I was determined to hang in there.

At lunch time a call came in, "God, damn it, where the fu** is my God damn car? Get the coordinator on the fu**ing line!!!" (note: he didn't say the asterisks, he was dropping the f-bomb. Just making sure you're following)

I started to tremble. I had never been spoken to in that way my whole life. So, I pressed the transfer button and then Ms. Evil Production Coordinator's line as instructed.

Then another call came in. "Don't fu**ing put me on hold!!! I want to know where my fu**ing car is!!! Get me the coordinator!!! And don't fu**ing put me on hold!!!"

Now, I really was nervous so I carefully hit transfer and her line again.

As expected the phone rang again. "How fu**ing stupid are you? Don't put me the fu** on hold!! I need to talk to the fu**ing coordinator."

So this time I did not press transfer, instead I laid the phone down (I could still hear him screaming obscenities at me) and I ran down the hall to the evil coordinators office. "Um, Ms. Evil Coordinator, I have Mr. Douchebag Producer on the phone and for some reason the transfer button keeps cutting him off." I meekly say. She replies "Just hit transfer and give the call to me"

So, I tell Mr. Effinheimer what I am going to do and that she is waiting on the other line to pick up.

He says, "Well, that fu**ing better work!"

I transferred the call and the phone rang again.

"How the fu** hard is it to fu**ing transfer a fu**ing call!!! I need to find my fu**ing car!! Tell her to fu**ing come down to your fu**ing phone and answer my call. Don't fu**ing put me on hold!!!

Oh, and to add to the stress the other phone lines were ringing off the hook with innocent, non-douchebag callers.

So, I took a chance, and a deep breath and put Mr. Effendouche on hold, ran down to her office and said "Excuse me please, but the transfer is not working, and he really needs to talk to you do you think you could come to my phone and answer it?" She sneered at me (I'm pretty sure flame shot out her nostril's too), and then commanded her assistant to follow me to my phone.

Her assistant picked up the line and the conversation went as follows: " Your car? It's parked on level two just outside the door... yes. You are on level two? Yes, it's there on level two just outside the door ....OK, you found it? ( He had walked right past it several times) What? Sorry about that, it's her first day."

I did not get fired....

Instead I was forced to work for three long tortuous months with this evil coordinator, her side kick, and the vile Mr. Effing Producer. To this day, working on that movie was my worst film experience.

Karma you ask?... Mr. Douchenheimer Producer is doing quite well for himself, working on blockbuster films and Ms. Evil Demon Spawn Coordinator still manifests herself from time to time and seems to make a good living making PAs' lives miserable.

And me? I'm just here waiting for a call from a much nicer coordinator.

...or Billy Olson.

It Was A Good Day

2008-11-18T05:55:00.000-08:00

As if to answer my last post...How was your day?..I found this gem on Ed Moore DoP's web site (via Polybloggimous)

Then while checking up on my other blogger friends web sites, (In no particular FAVORITE order, I work down the list A-Z)

I find Ed Moore actually nicked it from The Anonymous Assistant's Blog. Great minds think alike. So, if you have not already viewed it, watch it here. :)

per YouTube: Watch what happens when a film crew has too much time on their hands and an iPod full of 90's gangsta rap.

So How Was Your Day?

2008-11-14T05:00:00.000-08:00

Working as a script supervisor, I feel I am pretty insulated from a lot of the production crap that goes down during a job. I kinda like that.

Take for instance an NFL job I worked on recently. In the morning we filmed two players from the AFC, and in the afternoon one from the NFC (don't ask me who, I don't follow the volleyball).

In my little world the job was pretty easy. Sure we had the typical agency freak out in the morning over dialogue. Then the director set them straight on the fact that we don't have to film talent in a separate shot "NOT saying their dialogue". (I adored him for that one).

After that first take down the agency dudes stayed in their pen and we were blissfully alone at the monitor.

I had heard that the director was a screamer, but knowing I had survived Mr.Evil I felt I could handle anyone. Turns out the director was very nice... to me. He smiled at me as we passed to and from craft service, listened politely to any comments or suggestions I had, and was uber respectful to me. All I could ask for really. And at one point after I laughed at a take, Mr. Director called over to the producer and proclaimed "That was the best take of the day!" Then he flashed me a big smile. Overall a great day.

But that's my rosy little world.

At wrap as we were waiting to fill out time cards, the AD proclaimed what a jerk the director was. He launched into a massive bitch-fest culminating in the fact that the director actually pushed him for doing something wrong during the last set-up. Me blissfully unaware of this.

Production had their grumbles about him as well. They said he was condescending and drove them crazy with special requests for himself and the DP.

Then I find out that the director was not the only trouble maker on set...

The make-up artist had a run in with the NFC player's assistant, the wardrobe chicks had a skirmish with production over the process of getting all the extras' wardrobe back, the location manager had gone head-to-head with the stadium management since production took up far more parking spaces than expected, and who knows what other departmental headaches there were.

But for me, I was a happy camper. I cheerfully filled out my time card, said thanks to the producer and was on my way....walking to my car with the hairstylist who complained all the way to the parking ramp about her crappy shoot day.

Sometimes I love my job.

Yeah! and Stupid Directors

2008-11-07T05:00:00.000-08:00

So, this week I thought I would talk about.... The Election?...No, seems like everyone else and their dog is posting about that. I have only to say...YEAH! And I'm bummed that I missed out on buying a November 5th newspaper. Damn people that wake up early and buy all the newspapers. Living in historical times, one must buy historical stuff so one can sell it on eBay one hundred years from now! But, I missed out on that one.

Last week was an out of town job for five days. The director was a jerk, condescending and had no clue how to handle the actors. The sound guys were hilarious and liked to make fun of the director when he wasn't nearby...loved them. And the camera guy was cute. (aren't they always?)

A big bonus for everyone was that the lead actor who had to perform long dialogue scenes in three minute takes...(that's a lot of non-stop talking) knew ALL HIS LINES and rarely missed a beat. Thank God, otherwise the shoot would have lasted two weeks! During the wrap party I complimented the actor on his ability to spew out all that dialogue. He replied "You know, I looked at the script and thought these could be really long days if I don't know my lines, so to be respectful to everyone I really needed to have my dialogue down, I didn't want the production to go into overtime because of me." I loved that actor!!!!!

My favorite moment with the pissy director was when he stood in the middle of a field and yelled to me "Hey Script! (he never called me by my name) "What side was the main actor on?" I replied "Camera Right".

(Camera right is a technical term for those smart directors who know how screen direction works. In this case...I was clearly speaking above his intelligence level...but also for those of you not film savvy camera right is basically as you look at the monitor it's what appears on the right side of screen)

Since Mr. Pissy director was facing me from behind the camera...if he had pointed to the correct side he would have used his left hand. So he screams back to me using his RIGHT hand "This side?"

"No" I call back"Camera Right." and indicate to his left hand.

He replies in a most condescending tone (as if I didn't know my right hand from my left) screaming from the middle of the field "This is my right hand! You mean my other right hand!!! Which one!!!" and begins to flail both of his hands as if he's trying to fly...

At this moment I could hear a snort from the sound guys suppressing a laugh. I replied "You are correct, the actor was on this side." And I made a sweeping hand motion to indicate the right side of the camera. Dork.

It always seems when the director is an ass, the rest of the crew are extra nice to me. Possibly feeling bad because I have to endure Mr. Pissy at close proximity every day. The Key Grip asked me each morning if I needed anything, our Gaffer, who for some reason always drove our RV cart, would pick up MY chair and take it to the next location for me. The sound dude's made me laugh and well, every time the D.P. (camera guy) flashed a smile at me...yup that made my day.

Happy Election Day!!!

2008-11-04T05:00:00.000-08:00

Film Green

2008-10-28T09:14:00.000-07:00

Now, as regular readers know, my resolution this year was to be more green on set. I promised to mark and re-use my water bottle. I was frequently guilty of placing it by the monitor and forgetting to mark it as mine. Then when I would turn around and see the 50 other unmarked water bottles that had migrated around the monitor, I was not sure which one was mine. And being sort of a germ freak, I was reluctant to take a swig from a bottle that could have been someone else's. I'm proud to say, that I have been very good at marking my bottle and recycling it after the job since my resolution!

With this in mind check out Abbey Singer Blues (a blog written by a Boston lighting technician) His most recent post about being Green, led me to a link he referenced about FaERI.org. A non-profit film and entertainment recycling initiative.

At the FaERI website they have a wonderful departmental recycling guide. Make sure to check out that section and see what your department can do. As a scripty it's true, I get reams and reams of old scripts which I can proudly say, I make sure to send all that paper to the recycling bin.

It's all about getting into a habit don't you think? Lately my struggle has been remembering to bring my reusable bag to the grocery store. I'll find myself at the checkout and realize...... crap my reusable bag is at home doing no good for the environment! So, I'll act like a crazy lady and if it's five things or less I'll say, "No bag please" to which the cashier always gives me that quizzical look. Then, I walk out trying to successfully carry a gallon of milk, three jars of pasta sauce and a box Cap'n Crunch to the car.

I have now got myself into a habit, the reusable bag stays in the car, and once I unload it in my house...I immediately put it back into my car for my next shopping trip. Duh!

Those Crazy Indie Filmmakers

2008-10-20T05:51:00.000-07:00

This e-mail is from a senior producer at a well known ad agency. (I have never worked with her before)

Hi- I'm helping produce a indie film. It's a funny short film about a sperm donor. We shot 2 weekends ago but our outdoor shoot day was rained out. We're re-shooting it this Saturday and are looking for help as our script supervisor isn't avail now. We're all working for $25/day plus movie credit. Are you interested? We will be shooting at a park from 8am-5pm. Please let me know. Thank you.

I'm curious to know who was willing to work for $25/day. (if I did the math right that would be a whole $2.80/hour)

Ohhh wait, don't forget you get a movie credit too!

Update: Someone e-mailed me and said this post was a bit snotty. Yup, and it's probably because I'm tired of these kind of offers. Why professional people (a SENIOR PRODUCER) would think it's OK to ask someone to work for $25/a day is beyond me. What other industry works this way????

Interview Me?

2008-10-14T15:30:00.000-07:00

In the last couple of weeks I have received several e-mails from students wanting to interview me for their school project. And I just have to say, thanks for choosing a script supervisor to interview!!!

First of all, I would recommend interviewing a live scripty as well, and here is a little tip on how to find one...

It's very easy. If you are in New York, L.A., Paris, or Vancouver you can click on the link to their union. (conveniently found on the right hand side of my web site) If you work in another state let's say for example... Montana. Google Montana film office then click on crews and support services, then production crew by category choose script supervisors then you have to click that choice again...duh...and voila! Script Supervisors in Montana rinse lather repeat for whatever state you are in.

Call the nice script supervisor and ask rather politely if you can conduct a brief interview for your class project. Maybe you could do a bit of brushing up by reading the script supervising articles I have posted (again see the right hand column of my site) so you get a clear idea of the job before you compose your questions.

Here is a nice e-mail I received recently:

I am writing to ask you about being a script supervisor. I am currently a junior at Boston University, studying film. As an assignment we were asked to find someone in the industry with a specific position. If you have time it would be great if you could answer some questions about your job.

What are the specifics to what you do?

Wikipedia has it pretty well covered.

What made you want to become a script supervisor?

See this post

How long have you been in the industry?

16 years.

What are some of the best projects you've worked on?

The best jobs I have worked on are often not the ones that resulted in being a box office smash. For me it comes down to the best on-set experience. But by far my best experience was working with Walter Matthau on one of my first big budget movies. Everyday I walked on that set I was in utter awe of all things around me...it's really a wonder how I did my job (I was the 2nd unit script supervisor). Then one day, the 1st unit scripty got sick and they asked me to step in. Walter was on set, I was not only VERY green (being a newbie) but looked very green thinking I would pass out..., thankfully the camera guys held me up from fainting and helped me finish the shoot day without making a mess of things!

Any best projects you'd like to share?

Equipment Question

2008-10-08T07:35:00.000-07:00

I love to get e-mail's from readers! Here is another one!

Hello, I've been a script supervisor for about 4 years now and would like some outside opinions on equipment that you have, or have seen other scriptys use that make life easier. I work primarily in the southeast where many features are low budget and shot on location. i.e. wind, rain, mud, etc. Instead of hunching over my notebook on my lap for 12 hours at a time, do you know of any good collapsible desks (for sitting and adjustable to standing height)? Perhaps a sturdy music stand would work? Have you used anything like this in the past? I know there is a stand you can buy with the ScriptE software, however, I have not yet made the switch to computerized notes and am still rockin' the big, fat binder. Any suggestions you can give me would be great. Thanks!

I'm still rockin' the big fat binder as well! Last week I was on a job where we were out in a field for five days. Production provided us with camp chairs, the ones with the arm rest and drink holder went to the directors (yes there were two) and I got the one with no arms. After the first few hours of struggling to get in and out of their reclined camp chairs, the directors didn't use them anymore and just stood or kneeled to watch playback. I sat rather comfortably in my little armless camp chair. Thank you very much.

But that doesn't answer your question about having a stand or table. I like to travel light, so adding some sort of table to the chair would drive me somewhat batty on location. Maybe other scripty's out there have some suggestions?

Matching Actions

2008-09-25T05:00:00.000-07:00

Recently a Script Goddess reader e-mailed me with the following question:

After the first take, do you make the actors repeat all their actions and roll with what they've done to start, or let them do their thing and hope it's not TOO crazy. I worked on a short film last weekend where the actors would change a hand motion or something very slightly, but possibly slightly enough to be noticeable in the cut later. But the director (who seemed to have not worked with many SS before) wasn't entirely happy with my interjecting now and then with "Can you move this hand up to here when you say this?" I don't want to be directing them myself.

That's an awesome question! Along with discussing screen direction, match actions is another diplomatic skill for a script supervisor.

An actor's job is not only creative but also technical. An actor has to hit their mark, for camera and lighting....missing their mark may cause the shot to be "soft" and an actor to be out of their key light.

Along with meeting camera, lighting, and directorial needs, the actor also must also meet the editors' needs by matching their actions. Pick up the cup on the same word, cross the room on the same word, sit down at the same point in the dialogue. The same action each time, during the wide, medium and closeup....all the while keeping the performance fresh. (who said acting was easy?)

Really good experienced actors know continuity and the reason for it. They will modify their performance for the director while still managing their props and actions at the same time in their dialogue. Ohhhh I get chills when I see this happen! It makes everyone's job so easy!

Now, one must realize that actors are human and will from time to time change up their performance. Say in take four of the master shot, the actor did something quite different than say in take one through three. Takes five and six they revert back to the original action. When we move into coverage I need to ask the director what action I need to match...do we match to 1-3 and 5-6 or should we match to take four. His choice ultimately.

In the case of young actors who are not as familiar with the restraints of film, typically I deliver a sharp blow to the back of their head with my book when the director's not looking and they tend fall into line quite nicely....OK, I'm kidding, you can delete your email to SAG.

Actually, what happens is I will talk to the director first and explain what I am noticing in mis-matched actions. If you have an experienced director they will immediately remind the actor to match action. If you have an inexperienced director and actor I will explain the cut editorially. Again experience helps here.... You need to know when to pick your battles. I'll run the cut in my mind several ways and if I'm still concerned I will firmly state my position. Even then, some directors just won't get it until the editor (while reviewing dailies) calls him up and says, hey, Cecil, I can't cut this crap together.

Now there is some fudge room, especially in the commercial world since every shot typically is on screen for a second or so. Is it a shot that has a high likelihood of ending up on the cutting room floor? Or is it a shot where the actor says the product name? This determines my level of concern. If it's something in a commercial that I feel probably won't make it in the cut, I'll still bring up the mis-match, the director can decide what they want to do, and we'll move on. If it's during a take where the actor says the product name, I know they'll use that, and I'll bring up my point more intensely.

Working with a newbie director really comes down to trust. If he trusts me he'll take my advice and say to the actor, do what she says. If he feels threatened he'll say "it doesn't matter" either way, as a scripty you have done your job. You have made your point. You write a notation in the script and move on. You pick your battles.

For example: Now, before I tell you this story, I have to say I loved this newbie director. He listened to me the whole show, but one night with the freedom of steadicam he decided to have a gang of actors enter into a store wild and random. He was looking to generate that crazy whip-pan "whoa what's happening" feel. He told the actors they could do something different each take. I agree that's a great look, but I tell him, "Eventually your going to cut into these steadicam shots and to a static shot over the shoulder of the cashier to the gang members right?" "Yes" he replies. " Well, your gang members need to end up in the same place during each take so it will match." He smiled and disagreed. He uttered the words a scripty hears too many times in their career "it doesn't matter" So, I said "Ok, go for it but don't call me at home when your scratching your head in the edit." Then I went back to my book and wrote "Don't Call Me At Home" next to my notes on this scene. (remember we had a good working relationship, I probably wouldn't have done this to any other director.)

After the film was completed he sent me a most wonderful note. It said and I quote: "You were right about the gang scene, it was a bitch to edit."

Big smile!

So, when you find yourself in that same situation in the future, consider if the continuity your trying to work on will affect the edit. If it will you have every right to bring it up to the director and actor. Knowing what to focus on comes with experience and a good editing background.

That was a really long answer, but hopefully you found what you were looking for somewhere in there. Thanks for the question! Any other scripty's care to comment?

Below is my favorite scene from Amadeus (an old classic) You will find a couple continuity errors in match action, but they are so slight. And in truth. An actor is a human being. From time to time they will switch their hand, or move a prop where it wasn't before. It then comes down to the editor to decide to go with continuity or performance. And I'm here to say, performance typically wins....I'd rather watch a great performance any day.