On a small crew the script supervisors’ role will be as follows:
The script supervisor keeps a master copy of the script, and storyboard. There is no need for a set to be swamped with copies of paperwork held by every crew member. The initial briefing at the start of the day will tell everyone what is required. The script supervisor is always with the director so there is no need for the director to keep any paperwork. The director may wish to keep notes for the scenes to be played during the day and one or two pages of script, but that is all that they need.
The director and cast rehearse with the script supervisor in attendance. The script supervisor will primarily observe, but can act as a prompt to remind of any forgotten dialogue.
When the preparation comes to any end any changes in dialogue and decisions on action will be confirmed between performers, director and script supervisor. This will set the continuity for the scene and is the reason why script supervisors’ role is so important, because they will ensure continuity is kept when takes are made. If no one notes continuity it will fail during the set ups, because someone will forget, or make changes without considering the implications for continuity. This also makes clear why multiple copies of paperwork must be avoided. The performers will wish to annotate their script, so that it is perfectly correct, but the more copies of script there are on a set the more likely it is that confusion will occur, because someone will refer to a script which is a different version from the one being held by the script supervisor.
When the camera, lighting and sound are being prepared the director, the camera operator and the cinematographer will confirm with the script supervisor the set ups which will be taken, how they will be framed and the order in which they will be made.
If special FX are involved in a scene the person responsible for this will now know which set ups will be requiring these. The set ups may follow those storyboarded, or may be decided on at this point. Visual continuity can be checked and included in the notes on framing kept by the script supervisor.
All these notes do not require extensive paperwork and can simply be added to the master script. The need for annotating the scrip explains the reason why the format of a screenplay requires large margins. These extra wide margins are to give space for the script supervisors’ notes.
When the performers’ return in costume and make up for the first set up of the scene and walk through their actions for the first time the script supervisor will watch to ensure that the performers have kept to the agreed continuity. Before correcting any
mistakes in continuity the script supervisor will quietly check with the director and ask how they feel about any change in continuity. Usually the director will let the change remain, unless it confuses an essential narrative point and the script supervisor will note any final changes as the agreed continuity rather than disrupt the performers. Noting a minor change in continuity is far better that risking damaging a carefully rehearsed and now ready performance.
On a small crew the script supervisor can call the shots, because they will be keeping a record of the set up and takes, but in a larger film crew the 1st Assistant director and the Clapper/loader will share these responsibilities.
When the camera is running and the scene is being shot the script supervisor will be constantly checking between the master script and action; Is the dialogue being said as written? Did the performer move at the end of the line as they should? Is the performer using the correct hand to lift the glass?
At the end of the take the script supervisor will make sure that the director takes the time to ensure that the technical quality of the shot is checked and will confirm whether or not continuity was maintained. All of these checks are essential for good production practice and the time they take is time well spent. The camera crew can, if preferred. literally go through a list of checks read out from a list held by the script supervisor and thereby ensure that no errors slip by unnoticed.
Often a good script supervisor appears to be a person who merely sits on a chair with some paperwork and occasionally whispers to the director. In fact they are pivotal to the quality of a final production.
• In the example above of a page of script has been annotated by the script supervisor and shows how it will appear after all the planned set ups have been taken. It notes:
• When the performers will leave and enter shot, When the pint glass is in the hand. When someone parodies a woman tossing her hair. These and any changes to dialogue will have been noted during the preparation of the scene. • The script notes that there are five set ups to cover the scene
• The framing of each set up has been roughly drawn, noting the direction of performers movements in and out of shot.
• The lines running down from the drawings of the set ups, indicates how much of the scene the set up covers.
• A small overhead plan illustrates, the basic position of the camera and the order that the set ups will be shot in.
• These notes will have been prepared when the camera sound and lighting were prepared and the number set ups for the scene and the order for them to be shot in agreed.
• Besides each rough drawing there is a note of the set up number and a note of each take made.
These notes will have been recorded as the set ups were taken and indicate that every set up was performed. The sample script page illustrates that continuity of dialogue, props and action, the framing of set ups and the logging of shots can be kept without a great deal of paperwork. The director, the cast and the crew can all refer to the script supervisor script to assist their work and without this role uncertainty and inconsistency must occur. The work of the script supervisor also speeds up the postproduction editing, because a thorough log of each set up and every take has been made, and the editor can refer to this as an accurate record.