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Script Supervisor
How To Become a Script Supervisor
Career Description
The Script Supervisor oversees continuity during principal photography.
Roe Moore, a veteran Script Supervisor says, “The typical day-to-day is keeping the set organized. When it comes to resets everything needs to go back to one. That means bringing back everything, props and people, to how the scene started. Just think about hair, makeup, and blood for horror films! But it’s not always that complicated. Sometimes it’s just making sure a cup an Actor moves is returned to its original spot.
“The Script Supervisor is a one-person crew keeping track of all these details. It can be quite intense. We also take notes for the Editor, Script Analyst and Script Reader. It helps them organize footage faster so they’re not stuck looking through countless dailies to find a specific moment in an Actor’s coverage. We also note if there was an error within a specific shot.”
Most of the time a film is shot out of order. Usually, a production will shoot one side of a room before flipping to do another angle of the opposite side. This means that everything must be put back in the exact same spot as the first angle for the two shots to cut together. This process is repeated for multiple takes. In a larger sense, a scene will be shot and then the following scene won’t be filmed until a week later.
It is the Script Supervisor’s job to make sure that when production shoots the following scene, continuity is maintained. For example, the Script Supervisor makes sure that the Actor’s wardrobe is precise, such as how their hat is tipped from take to take. It’s truly a job that believes the devil is in the details.
Salary
The average annual salary for a Script Supervisor is approximately $67,400. The salary range for Script Supervisors runs from $40,000 to $86,000.
When Script Supervisors are just starting out in the industry, the majority will work non-union and set their own day rates. After joining the union, they’ll benefit from higher wages established by the union.
A Script Supervisor’s annual salary will also depend on the number of gigs they take in a given year, and the budget allotted to their salary for each gig. As with many specialties in filmmaking, that salary can fluctuate from year to year.
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Career Outlook
The freelance life can be very sporadic. Moore says, “Sometimes a job will come in a month in advance and other times it’s less than twenty-four hours. Usually, features and television shows give more notice while commercials are in the two-day range.
“When working with a network, things can be more regular, but usually it’s booking a job for three weeks and then nothing for a month, then three commercial jobs all at once. I’m lucky to have friends and a spouse who are totally understanding. Work can be any day of the week, at any time, and show up with no notice.”
Script Supervisors work in the production phase of filmmaking. It can be a bit turbulent due to people dropping out of jobs and the last-minute nature of building a film crew. When a Script Supervisor becomes more established, they’re going to have better luck booking jobs with a more consistent workload because their network of referrals and rehires will be larger.
The Script Supervisor is usually hired by the Line Producer or Unit Production Manager. They take notes from the Director and pass on all continuity observations to the Editor. Otherwise, the Script Supervisor is working with every department on set, making sure that each shot can be cut together.
Career Path
Moore says, “Since we’re a department of one, when a Script Supervisor starts, they’ve got the weight of production on their shoulders. It isn’t a job that is directly taught in film school either. Most Script Supervisors will shadow a veteran to learn the job.”
“It’s a sort of an apprenticeship method. I got into it by working with a 25-year veteran. It gave me the opportunity to get on set and make connections that would lead to my first couple of jobs.”
Many Script Supervisors advance in their career by working on larger productions. Some will go on to become Directors or Editors because they spend so much time focusing on shot setups and details.
The best approach for advancing as a Script Supervisor is to understand the context of what it means to be on set, including etiquette, as well as knowing what needs to happen for each specific scene and when.
Most people become a Script Supervisor through mentorship. “Script Supervisors pass on the training that they have. If I’m not working and one of my mentees has set, I’ll go with them for support. If they have questions then they can ask me first before walking up to the Director or star of the project.
“Doing that can be intimidating. Otherwise, I’m usually meeting up with my students after a day of filmmaking to hear how everything went,” says Moore.
She also mentions, “If someone is going through film school it can be great for them to hop on their friends’ shoots and practice. It’s good to keep those student film connections. Even if you’re not in school it can be good to do student films because some schools, like the AFI cycle and thesis projects, hire key department heads to help with projects for a decent rate. Also, those relationships can be carried forward after people graduate.”
A person usually lands their first Script Supervisor gig through student films or a recommendation from their mentor. As they continue to work, a network of relationships will be built that results in rehires, leading to consistent work.
The following breaks down some of the more common ways to develop your skillsets to become a successful Script Supervisor:
- Examine shows for common continuity issues.
- Join Facebook groups that discuss this specialty.
- Find a mentor and work with them on set.
- Study films. Break down how many cuts are in a scene and how many angles it was shot in.
- Read Script Supervising and Film Continuity by Pat Miller.
Experience & Skills
When script supervising it’s good to have a general knowledge of filmmaking. However, there is one special skill that is imperative to have.
“I would definitely say be detail-oriented. Our job deals with very small minutia. It’s making sure that an Actor takes a sip of their drink on the exact same line every time, but it’s not just that. A Script Supervisor needs a lot of positive energy when communicating what they see. It’s really easy to become a nag,” says Moore.
Every single take will be slightly different. It’s up to the Script Supervisor to catalog these differences and make sure that they each match enough to cut. Therefore, general knowledge of how to shoot and edit a movie is imperative.
Everyone on a film set needs to be collaborative. A Script Supervisor also needs to be diplomatic because their job is often about pointing out flaws in the other departments. It’s about being approachable.
“Be kind when talking to others; we’re not supposed to be the police. If you start bullying or bossing people around then it’ll make it a toxic set and you won’t get rehired.
“The best way to be is solution-minded. Always have a solution to a problem before approaching someone with it. If you walk up and tell someone to deal with it, things won’t go over well,” says Moore.
Having a good attitude is always important but it’s especially crucial for Script Supervisors because the potential for conflict is so high. Sometimes it’s just as simple as asking for one more take to see if an error can be solved without telling everyone except the Director why.
Education & Training
There are ways to prepare for a career as a Script Supervisor before beginning an apprenticeship. “I would highly recommend getting to know what every position on set does. A Script Supervisor’s hands are in every single department and it’s important to know what they’re doing to effectively collaborate.
“It’s also good to understand how shot lists work. Sometimes the Script Supervisor must be the outside eye and let people know if shooting in a specific order won’t work. For example, if a chainsaw comes through a wall and cuts a desk in half where a character in a movie is supposed to be hiding then it’s important to get the Actor’s coverage under the desk before sawing it in half,” says Moore.
A lot of these things may seem simple but while on set people’s heads are in pulled in so many different directions that the obvious can become invisible. A good job to take to get on set experience is as a PA in the grip or art department.
Additional Resources
There are many good resources and professional organizations for aspiring Script Supervisors to check out. Moore mentions, “Some of the best online resources are the Facebook groups ScriptSupervisors! and Digital Script Supervisor.
“They’re a great place to find work and build connections. Also, it’s good to check out the Local Union 871 or whichever union represents your area. There are different local unions and while they can’t give jobs, they do have meetups. It’s a good place to meet a veteran Script Supervisor.
“Finally, I’d check out Below the Line magazine. It has a list of all projects in development or production with contact information. Reach out to a Production Manager who works consistently and take them out to lunch. Let them get to know you and build your contacts.”
The most important thing to remember about script supervising is that it is a job that needs to be learned through experience. The best thing a person can do is use these online resources and organizations to make contacts and get on set.
FAQ
What does a Script Supervisor do?
If there’s one word to describe the primary responsibility of a Script Supervisor, it’s continuity. Continuity of costumes, props, hair and makeup, lighting, sets, and so on. All from shot to shot and scene to scene. It’s the job of the Script Supervisor to ensure that regardless of the number of takes, the Editor has available to them all the footage necessary for assemblage of the final film without any differences in these elements from take to take.
How much does a Script Supervisor make?
The salary of a Script Supervisor depends on multiple factors, including their experience, the overall film budget, their union status, and the number of jobs they are hired for in a given year. All to say, it can fluctuate significantly. However, the national average for a Script Supervisor is approximately $67,400 in annual salary.
What skills does a Script Supervisor need?
If you’re the person making sure that everything in frame is consistent from one take to the next, you must be a master of multiple skills. To be a successful Script Supervisor, you need to have an eye that can pick up even the most minor changes, superb note-taking skills to comprehensively detail any changes in the script for each take, and strong communication skills to convey to cast and crew what must be altered to maintain consistency during the shoot.
What’s the #1 mistake people make when trying to get into this career?
“The biggest mistake people make when getting into this field is that they think they know everything because they downloaded an app on their phone. There is a balance between what notes are taken, how many there are, and how they end up being communicated. Also, that sort of arrogance can be off-putting and lead to mistakes.
“Most of a Script Supervisor’s skill level won’t be discovered until a film hits the editing room. However, a couple bad projects can kill a career. Most mistakes are made by looking at a computer instead of watching what’s happening on set. It may look like a Script Supervisor is just hanging out next to the monitor but they’re keeping track of everything in a production. They don’t need to be showy about it.”
What is the question people should ask about this career but rarely do?
“Why is a Script Supervisor always just sitting by the monitor?
“The Script Supervisor is constantly studying what is in each shot. For every take, they write a couple of minutes of notes. If the crew is very talented and the Director has an eye for detail some people may feel like a Script Supervisor is not necessary.
“However, when a Script Supervisor is not writing notes or trying to do corrective work on set they’re providing notes for the edit. This can include shorthand for what an Actor did in each take and whether it was a preferred take by the Director. This sort of work greatly expedites the post-production process. There is never a moment of just hanging out on set as a Script Supervisor!”
What is the single biggest suggestion you would give to someone wanting to get into this career?
“The biggest thing young people starting out need to remember is to not get intimidated. Often it can be a bit scary walking up to a Director, especially someone that’s respected, and letting them know a mistake has been made. However, it’s good to remember that everyone is there to make the best film possible and that’s the Script Supervisor’s job.
“It’s all about speaking up, which can be practiced in everyday life. That doesn’t mean to be aggressive or bossy, but begin to pay attention to how great communication happens. A large part of a Script Supervisor’s job is communication so if someone practices that they’ll be way ahead of the game.”
What is one thing I should have asked which I didn’t?
“What’s the best metaphor to describe a Script Supervisor?
“Being a Script Supervisor is kind of like being a Paramedic standing by. You’re there in case the production gets hurt in any way, taking notes on what happened and trying to stabilize the problem. Then, when the issue reaches the Editor the Script Supervisor can describe it so the problem can be remedied properly. Something always goes wrong on set. It’s just the nature of the business. So it’s always good to have a Script Supervisor around.”
If you could describe in one word what makes you successful, what would it be?
“Cheerful. I know what I’m doing and I’m a pleasure to have on set.”
What educational background or training is beneficial for someone aspiring to become a script supervisor?
Although there’s no degree or educational requirement needed to become a script supervisor, having exposure and training in both script supervisory positions and filmmaking can be helpful for someone looking to pursue this role. Some things to consider would be…
- A film school education
- On-set experience
- Maintaining great attention to detail
Film school can provide you with a base knowledge of the filmmaking world and provide a hands-on experience for the way movies are produced.
While educational institutions have their value, there can be no greater teacher than an experience working on an actual, living, breathing film set. By simply observing the way departments interact and how shots are achieved can be an invaluable experience for any script supervisor looking to get a true sense of the way things are done on a working set.
The script supervisor’s position involves paying a great deal of attention and keeping meticulous notes when it comes to staying up on scenes. It is after all, their job to ensure continuity is maintained from shot to shot.
What are common challenges faced by script supervisors, and how can they be overcome?
There are a number of challenges facing script supervisors on film sets. But with the necessary preparation, they can be navigated and overcome successfully. Let’s take a look at some of them…
- Managing continuity
- Adjusting for time
- Keeping up with technology
A script supervisor’s primary task is to ensure there’s perfect consistency in the actor’s performances, their wardrobe, and set elements. This can become quite challenging, as movie sets tend to become high-pressure, intense environments. The most effective way to stay up on a film’s continuity is to keep an eye on detail and maintain effective communication with the production teams to guarantee everyone is in alignment on the latest shooting updates.
Film sets are a constant rush against the clock. They’re forever moving, hyper-kinetic entities that work feverishly to balance time and money. Script supervisors need to prioritize tasks, work efficiently, and communicate with the relevant teams to keep everyone on track and on schedule. Preparing in advance, and knowing which scenes may take longer than others, can prove to be an enormous help in this.
We live in a digital age that continues to evolve. Apps and other programs are forever being produced to enhance a script supervisor’s job. The most efficient thing for a script supervisor to do is get proactive about tech. Attend online training sessions and workshops to stay up on the most recent advancements. These tools are (ideally) designed to make a script supervisor’s job more efficient, so embracing them would be the most productive approach.
How does a script supervisor handle script changes, rewrites, and deviations from the original plan during filming?
Rewrites, changes, and revisions are par for the course in filmmaking. In fact, it would be something of an anomaly for a production to have no rewrites whatsoever. It’s the script supervisor’s job to be on top of all the script updates to make sure they’re properly implemented in the film’s shooting. There are a few ways to do this…
- Keep informed
- Bring everyone else up to speed
- Maintain continuity
- Account for timing
Here’s where communication is key because script supervisor’s need to be up on the latest changes and revisions to the script. Working off a dated piece of material for a script supervisor could be disastrous to a production.
The script supervisor needs to make sure the actors, director, cinematographer and all other relevant departments have the most updated version of the script.
Throughout every iteration of the shooting script, the script supervisor needs to ensure there’s narrative and visual continuity throughout the shoot. Their job is to keep a close eye on the changes and make sure they’re organic with what’s not being revised.
Script changes will change the length of scenes and the timing of the beats within them. Script supervisors need to make note of these updates and document them accordingly.
Sources
Roe Moore
Originally from Aurora, Colorado, Roe Moore started her performing career on stage at an early age with dance and music. Moore’s vast filmmaking experience has taken her both in front of the camera and behind-the-scenes on familiar television shows like CW’s Masters of Illusion, Emmy-nominated PopTV sitcom This Just In, and El Rey Network’s Lucha Underground.
Most of her experience has been as a Script Supervisor working alongside many highly-acclaimed Directors, including 2016’s Student Academy Award-winner, David Henry Gerson. Her favorite work experience was working as the Associate Director of the beloved Hollywood Christmas Parade.
In Spring 2017, Moore was a speaker at SXSW’s Script Supervisor Panel. She is teaching a Script Supervisor course at Glendale Community College in California. She is a blog contributor for Final Draft and in the Story Broads Community on ScriptMag. Moore’s career as a Script Supervisor has been profiled on the No Film School Blog.
Feel free to follow her industry adventures through #ScriptyRoe or on her Instagram (@roe_mo).
References
- 1Multiple. "Script Supervisor Salary". Zip Recruiter. published: Dec 12, 2019. retrieved on: Dec 12, 2019