The Vendor Client Relationship

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?

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

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?

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

** 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!

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

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?