What is a Script Supervisor, and how do you become one? First, take a quick quiz to see how much you know about this department. Then I'll introduce the job, and what to expect from this course.
Find out what types of projects a script supervisor can work on, tips on interviewing with a director, and what to expect at an All Hands meeting. Then take a quiz to see what you learned.
Breaking down the script 8
Everything you need to do to prep for a shoot.
Kit and Supplies 3
Let's talk about what supplies you'll need in your kit.
How much is covered under continuity, and what you need to watch for.
These are in the order you'll be running them. and need to be uploaded every night after wrap.
A Day in the Life 15
From arriving at call time, to running your wrap reports, this is a day in the life of a script supervisor.
Floor plans 1
Get ready to draw some bird's eye view layouts of the scene you're shooting. It's a lot of fun!
Contracts and Forms 3
How to manage your freelance income.
Pay Rate 4
Daily vs Hourly, Union vs Non, Project type
Networking and landing a job 2
It's all about who you know, your reputation, and how to keep the momentum going when you're a freelancer.
Some guidelines I like to use on set to effective get my continuity point across, without losing my cool.
OPTIONAL: Tell me how you enjoyed the course 1
Line! Corrections, Off Camera, and Readings
Since you are the one with the most up to date script, it’s up to you to help actors when they call for line in the middle of a scene. What I like to do at the beginning of the day, once talent is called on set, is to introduce myself to the cast, and let them know who I am and what I can do for them. It usually goes something like this:
“Hi, I’m Hannah, your script supervisor for today/the show. I just wanted to let you know I’m available to give you a line read any time, as long as you call line. I can hear you via your mic, so no need to shout. Just remember: I can only give you a line if you call “line”. Otherwise, I don’t want to interrupt you, for pause or adlib purposes. Does that work for you? Great. And again, my name is Hannah. Very nice to meet you.”
There have been some times where talent is called to set and there is no time to introduce myself to them before we roll. If that’s the case, I simply go up to them after the first take. As long as you intro yourself towards the beginning of the day, then that works.
OFF CAMERA LINES
Some scenes have scripted off camera, voice over, off screen, etc, dialogue written. There is a grey area as to who reads this during the scene, if it’s you or the AD or show runner or the cast member who is off camera. Usually, I like to ask the AD to read the lines, since I’m doing a million other things during the take. If they are opposed, then I do the line read. In very complex scenes, I’ll asked a PA to do the line reading for me. Other times, the cast has asked me to do the line reads if there is a lot of adlibs from the off camera dialogue that we’ve shot on a previous day. I also know the inflections, timings, and tone of cast members on TV shows since I’ve been on them for a few seasons. It really depends, but the bottom line is: have this figured out BEFORE rolling the first take.
LINE READING BEFORE ROLLING
Some cast members might be in need of running their lines beforehand. This is a service you can offer them, and it helps you to get familiar with the dialogue as well. I usually offer this to anyone with a long monologue or someone who is nervous. It’s a nice touch to add to your job, and it helps you to get to know the cast as well. Building that trust with them is so important to help the flow of production and uphold a positive atmosphere on set.