#scriptsupervising

Now it’s time to elevate our craft more by learning negotiating skills and educating others about the value of what we do.  The workload is bigger nowadays and there are many days it would benefit us to have more than one script supervisor on set.  That’d be great right? Here’s a way to get there: 

On the call sheet, request that you get your own category.  We are not a part of production; our category is Continuity. 

Also we are not a department of one; we are a Department Head. We have 2nd units, stunt units, aerial units, splinter units...  So request that your job title on every call sheet is Key Script Supervisor 

Next get comfortable negotiating for additional script supervisors.  This can be introduced during the interview and brought up when the shooting schedule comes out. If there is a ballroom scene for example, or 4 cameras, act like a Department Head and say “That’s a big scene and a lot of cameras, I’m gonna need additional script supervisors those days” 

This additional script supervisor will be on the callsheet in the Continuity section, right under your name.  And it will seem like it’s always meant to be that way. 

My personal interests include watching the art of mise-en-scene; Using production design, wardrobe, camera angles, and movement-on-screen to tell a story and draw your attention. I enjoy watching a movie and knowing that a lot of forethought made this effect possible.

The whole point (in my opinion) is to tell a story and subtly manipulate your audience’s emotions… To sweep them along without them noticing how it’s done, because your movie is so seamlessly crafted. How do you cut together these different angles to make a fluid scene, even while dramatically changing the framing or location? That’s where MY specialties come in:

Matching action (so the audience doesn't realize the camera moved, because they just saw the action continue). Matching screen direction. Matching frame size (or ensuring frame size changes enough! Even from the end of one scene, to the beginning of the next). Matching pacing. Taking notes to remind us of what shots we can’t forget (either now, or once we get to the next location, especially if it's a stylized montage). And unforgettable notes of camera lens/height/distance, and camera movement.

My favorite sequences in Guy Ritchie’s movies, and P.T. Anderson’s movies couldn’t be accomplished without this careful planning by the director and DP. And having that trusted person next to you (Ahem… the script supervisor) who is in on the plans, understands completely what you want to achieve, and ensures that you achieve them.