Sure. Do I get to find out what they are?
Oh, right, sorry. Here you go:
Benedict Paxton-Crick | Contact: |
+61 402 282 797 (Australia) +33 7 67 37 32 57 (France) thatcontinuityguy@gmail.com |
Script Supervisor | Agent: |
Top Technicians Management +61 2 9958 1611 crew@toptechsmanagement.com.au |
Australia / New Zealand / EU |
Credits | Forms | Samples | Continuity 101 |
One thing that all Script Supervisors have in common is that no-one aside from other Continuitists seems to know quite what we do. Most people have vague ideas about aspects of it... but even those on-set with us every day can be just a little unclear about what it is we're actually doing there.
So, since I tend to get asked the same questions a lot, on-set and off, I thought it might help to answer some of them here. And thus was born Continuity 101...
Any and all feedback would be most welcome (especially if I've got something wrong), and can be submitted through the comments form in each section.
If you'd rather not have your comments publicly visible on this site, then please just drop me an email - I promise to reply as soon as I can.
None – or rather, my own. I am a department of one.[1] I report to the the Director, the Editor, and the Producer / Line Producer or Production Manager.[2] I defer to the DoP[3], and of course the 1st AD.[4]
Because I look at all these things so that you don’t have to. You’re used to trying to keep track of eyelines, and action continuity, and updating the script changes, and cross-checking your coverage, and all that other stuff. But you’re there to get the frame you want and the performance you want for the shot you want to get that vision you have in your head onto film. God knows it’s hard enough as it is. Me being there frees you from all that other stuff – which is all basically technical and operational, and none of which is creative – and allows you to do what you’re there for. Shoot your film.
I can also shield you from at least some of those constant unwanted questions – I know the script and know what you’re shooting (and sometimes even why) and can answer most of them without you having to break your train of thought.
I’m also a fall guy (sad but true). [NB. Actors and ADs, please stop reading at this point]. Since I’m used to being blamed for everything anyway, you can even use me when you’re not happy with a take to get another one “for continuity” without upsetting your actors. Or getting it past your 1st AD. Hey, camera operators do it all the time when they’re not happy with a take. Or when actors give them a signal that they weren’t happy with a take… (“Sorry – that one was no good, went soft at the end.” “Really – I didn’t see that?” “Yeah. And I jolted the camera by accident in the middle.” “Well that’s ok, we can cut around it.” “And the clip number’s out of sync so there must have been an unintentional button on/off somewhere else.” “Really? Well okay, I guess we’d better do it again then…”)
Oh, and I also do great neck massages.
Hopefully some of what we’ve discussed above should have helped persuade you of the need to have a proper Script Supervisor.[1] If not – the fact that it will free up your director to do her job properly and give you a better film. On which you have more chance of getting a return. Or that the same goes for most of your other crew – me being there will make it much easier for them to do their jobs.[2] Or that it will make your editor happy – and will cost you less in the edit suite.[3][4]
But if none of that sways you…
I don’t cost you money – I save you money. I claim that I will save you more than my salary in the first three days of shooting.[5] Never mind the story – calculate the cost of that one shot that would otherwise be useless: the stock, the crew time, the equipment, the whole works. The one where I got in with my Columbo “Um…just one thing…” before we shot it, and stopped it from being a waste. And yes, this has happened on every shoot I have worked on to date.
And if you’re doing really low-budget and really think you can’t afford me – well, that’s probably when you need me most.[6] With a mostly green crew, you will get mistakes and omissions, and you want to be minimising them in the most cost-effective way possible to get the best film you can with the very limited amount of time and money you have available. Which is after all what you’re good at. And I’d strongly advocate that the most cost-effective way possible is me.[7]
Have a look in the Further Reading section. And anything else – just ask.
Yup, that’s it.
It’s been great talking with you. You take care now, ‘kay?
And don’t forget to write.
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