Sure, you can find script supervisors on all kinds of productions, but what do we do differently depends on the media! Plus - what can producers expect from our department?
But first, we talk to Nick Robinson. With experience in over a dozen departments, filmmaker Nick Robinson’s script supervising credits include commercials starring A-list talent, the SXSW Documentary “For Madmen Only”, and top-tier festival features Bad Turn Worse which went to TIFF, Body at Brighton Rock to SXSW, and Sundance award nominee, Spree.
Hosted, Created & Produced by Caryn Ruby
Produced and Edited by Eden Woolworth
Sound Mixer Adam Carl
Original Music by Edith Mudge
Logo design by Sharon Watt
Episode artwork by Ana Ziegler Loes
Sure, you can find script supervisors on all kinds of productions, but what do we do differently depends on the media! Plus - what can producers expect from our department?
But first, we talk to Nick Robinson. With experience in over a dozen departments, filmmaker Nick Robinson’s script supervising credits include commercials starring A-list talent, the SXSW Documentary “For Madmen Only”, and top-tier festival features Bad Turn Worse which went to TIFF, Body at Brighton Rock to SXSW, and Sundance award nominee, Spree.
Hosted, Created & Produced by Caryn Ruby
Produced and Edited by Eden Woolworth
Sound Mixer Adam Carl
Original Music by Edith Mudge
Logo design by Sharon Watt
Episode artwork by Ana Ziegler Loes
Sharon Watt (00:01)
They’re the unsung heroes on film and TV
Various (00:06)
Script Script Script Supervisor, script, script, script supervisors... the unsung hero...I kinda like that.
Caryn Ruby (00:19)
“Script Supervisors, Unsung Heroes of Film and TV” was created from interviews of over a dozen script supervisors from across the US. Episodes were written and produced by Caryn Ruby and Eden Woolworth, edited by Eden Woolworth and contains original music by Edith Mudge.
Nick Robinson (00:38)
Why would you want to become a script supervisor?
Roe Moore (00:41)
It is every second. Everything could change.
Nick Robinson (00:44)
You know what? If you set me up to fail that check better clear <laugh>
Barry Caldwell (00:48)
To boil it all down, every show is different
Caryn Ruby (00:50)
In a choose your own adventure.
Hannah Driscoll (00:51)
It's managing three different storylines instead of one.
Roe Moore (00:54)
The continuity question kind of goes out the window.
Nick Robinson (00:57)
You're going to F* it up, F* it up where it doesn't matter. I'm still here cuz I don't do anything else.
Caryn Ruby (01:08)
In this episode, we talk to Nick Robinson. With experience in over a dozen departments, this filmmaker's script supervising credits include commercials starring A-list talent, the South by Southwest documentary "For Mad Men Only", and top tier festival features "Bad Turn Worse," which went to TIFF, "Body at Brighton Rock" that went to South by Southwest and Sundance award nominee "Spree." Then, we'll have a discussion with the group on what it's like working in different types of media, how our job descriptions vary, and all the ways script supervisors help the team. Today we're with Nick Robinson.
Nick Robinson (01:48)
Hello.
Caryn Ruby (01:49)
Let's talk about your path of how you became a script supervisor. There's been really nobody yet on the podcast who said, "Oh, when I was a child, I always wanted to be a script supervisor." Like everyone seems to fall into it somehow. So, what was your path and how did you discover this career?
Nick Robinson (02:06)
Oh, well yeah, I absolutely fell into this. So I went to film school at university of Texas in Austin. Went there till they basically couldn't teach me any more. But's funny is they didn't have a script supervising class as most don't and we actually learned like lining the script in a producing class for some reason. I have no idea why.
Caryn Ruby (02:27)
So interesting.
Nick Robinson (02:28)
Yeah, we learned that and EP scheduler back to back and it's..
Caryn Ruby (02:32)
Totally related.
Nick Robinson (02:34)
Yeah. <laugh> I think they were even telling us that this is a producer's task. Like that is a pre-pro sort of thing. Like you line the script to show what kind of shots you want and I've never known any producer to do that practice, and I hated it then and it's still my least favorite part of the job right now. <laugh> Well, I mean, unless departments are working against me or you know, I'm set up to fail, or I'm not paid well or the check doesn't come, you know...<Laugh>
Caryn Ruby (03:05)
<laugh> Right. All those things. I'm curious. Um, your friends from film school, did any of them become script supervisors?
Nick Robinson (03:12)
No. None of my friends from film school became a script supervisor. Although I remember after graduating, I was on campus for some reason and I ran into a friend of mine and we were talking about, you know, what we were gonna do for our lives. And she actually said that she wanted to become a script supervisor and I'm just like, why would you want to do that? And she's like, oh, well, you know, that's a steady job. And I'm just like, okay, whatever. And now she works in reality development and I'm a script supervisor.
Caryn Ruby (03:43)
Love it. Love it. So talk more about how you became a script supervisor.
Nick Robinson (03:46)
Yeah. So I have done a number of odd jobs and at one point I was an assistant to some producers and I was reading scripts, coverage, analyzing this, festival... You know, all the usual stuff. And we finally had a movie go. And so they approached me and they're basically like, look, we're not gonna need somebody reading scripts while we're away shooting this movie. Why don't you come with us, work on the movie. You've edited some stuff for us, you've directed stuff in the past...Why don't you be the script supervisor for this one and use your knowledge. And additionally, we didn't know any script supervisors <laugh> in that area or anything like that. So I said, of course! And I had a meeting with another script supervisor that was like 20 minutes long. Like I was catching her between stuff and I got a rundown of the tasks. My eyes, you know, were glazed over like, oh my God,
Caryn Ruby (04:49)
<laugh>
Nick Robinson (04:49)
I had some forms that she had sent me that were like those grade school photocopies that were just blurry...
Caryn Ruby (04:57)
<laugh>
Nick Robinson (04:57)
...and it's like, okay, here you go. And so I didn't understand like all these other things. And I was just, you know, thrown into the deep end of the pool. And I remember like day one, shot two, they come to me, "Hey, was his hand like this or this?" And I didn't know the answer.
Caryn Ruby (05:19)
<laugh> It's the worst
Nick Robinson (05:20)
And it's just like, okay, okay. I'm starting to get the whole spectrum of it. And I gave him an answer that I felt, I felt good about it in the moment. And I found out later I was slightly wrong.
Caryn Ruby (05:33)
<laugh> right.
Nick Robinson (05:35)
But it's such a slight thing. I see it, but it's one of those things that nobody else would. So it's not keeping me up at night or anything like that. Don't worry about that.
Caryn Ruby (05:43)
Oh, I'm not worried. I'm worried about myself.
Nick Robinson (05:46)
<laugh>
Hannah Driscoll (05:46)
Cause that, that happened to me, cause I was on set...It was like my first short film after training, I had done one before, which was don't even ask.
Nick Robinson (05:54)
Yeah.
Caryn Ruby (05:54)
And so they're like, when she got up, did she turn clockwise or counterclockwise? And I was like, uhhh
Nick Robinson (06:01)
Yeah.
Caryn Ruby (06:02)
And I just was like, um... Yeah, clockwise. Yeah. That's how she turned. Oh God, I hope that was right. <laugh> yeah. I don't even know, it hasn't come out yet. So I hope I didn't ruin it.
Nick Robinson (06:15)
Yeah. Yeah.
Caryn Ruby (06:18)
Okay. Moving right along. What do you think that producers or directors or film students don't know about script supervisors or the job that we have?
Nick Robinson (06:30)
So I work with a lot of first timers for whatever reason. I get paired up with people who are on their first formal project, you know,
Caryn Ruby (06:40)
Their first real gig.
Nick Robinson (06:41)
Yeah. Yeah. I've dealt with a lot of bedroom geniuses. Who've been like putting stuff together and now they have 20 people on set and are like little like, okay, I'm used to doing this myself. You know, you can, you can see them grabbing at lights and it's like, no, no, no, please don't..Your energies are best focused elsewhere. Let the guys smoking on the truck, handle this, you know <laugh> so a lot of them see me there as kind of supervision? Like I'm there to make sure they don't F* it up, and on some levels I am, but that's not how I've ever approached a job. Like I'm there to help them. I want them to make their picture. I'm there to be Robin to their Batman.
Caryn Ruby (07:25)
Right. For sure. Have you ever had somebody come back after like they're in post and they're like, oh you were right. We really shouldn't have broken the line that time or whatever the story was that they didn't listen to you.
Nick Robinson (07:38)
That's the greatest feeling in the world. <laugh> look, look, no matter how long you work in entertainment, you're going to get very few, "Oh, you were right"'s.
Caryn Ruby (07:50)
<laugh> fair.
Nick Robinson (07:50)
No matter how much you move up, no matter what happens to you, the, "oh, you know what? We were wrong, you were right." Is extremely rare. Savor every one. A lot of people go through the business and you know, work 50, 60 years never get one. So...
Caryn Ruby (08:06)
What about advice for newbies? Cause I know in these "Script supervisors!" Facebook groups and everything, "I'm trying to get started. What should I do?" You know, what advice do you have for people who are like, "I think I wanna try this weird job that nobody's ever heard of?"
Nick Robinson (08:22)
I'd tell 'em you picked a hell of a time to start. Uh <laugh>
Caryn Ruby (08:25)
<laugh> That's fair.
Nick Robinson (08:26)
Like number one, figure out what you really wanna do. Because even of the script supervisors I've met through all this, very few are like, "Yeah, I wanna die on set, telling somebody they turned over the left shoulder, not the right, clicking my stopwatch. You know, that's how I want to go. That's how I want my career life, everything to end." So what I tell 'em is look, this is not an easy job. It is not a particularly rewarding job. So get on some sets, AFI cycle films will never be released to the public. They're owned by AFI. Get on 'em, get in there, see how a set works. F* It up, F* it up a lot. Because once you F* something up then, you know, oh, I feel really bad about not tracking which hand he had the gun in. Okay. I'm gonna keep track on that. It took me F*ing up women's hairstyles a few times to really know, okay, I absolutely have to take a picture of this because as a typical man, sometimes I don't really notice it all that much, you know <laugh> so look, you're going to F* it up, F* it up where it doesn't matter.
Caryn Ruby (09:38)
Nice. So speaking of the women's hairstyles and all that and being that it's historically been a job held by women. Do you have any thoughts on being a man in a "woman's job" or has anyone ever said to you, "Oh! A guy script supervisor!"
Nick Robinson (09:56)
All the time. All the time. So back in the '50s and into the early '60s, it was called script girl. Nobody uses that term unless you're a man walking on set. Then it's like, "Oh, script girl! Oh, script girl!" And you have to shut that down real quick. That's not flying with me, you know. And I've had producers who I was friendly with, you know, I was up for a job. They went with someone else, and later they're just like, yeah, you know, we really want to, but you know, we just didn't want to have too many dudes on set. And it's just like a lot of producers before this influx of women in camera department would use our role to get more women on set, which is overall a good thing. But when they come to you and it's like, here's why you did not get a job. It sucks.
Caryn Ruby (10:44)
Totally fair. What would you say is your biggest pet peeve on set? What drives you nuts? Some stupid thing that can't stop happening. Is there anything?
Nick Robinson (10:57)
Ah, so many. I mean, my biggest problem is when I'm not given enough prep time, like I just had a show that just kept saying, "Hey, we're revising the script. You'll get it. You'll get it. You'll get it. Oh, we're doing another one." And it's like, if you want me to start this thing, you have to get it to me. And I know things will change. Things always change, but at least gimme something to go through. And sometimes we're treated in this like oddly precious manner where it's like, no, we don't want you to be tainted by the past revisions. And it's, it's not how it works. Unless you're changing the complete story, unless you're changing the complete characters, just give me the script in whatever version it, it has. Yeah it's sloppy and doesn't make any sense and whatever, but I've gotten finished products that are sloppy and don't make any sense.
Caryn Ruby (11:51)
Right. And I mean, some people would feel like it's wasting your time and maybe at some level it is - if certainly if you're not getting paid enough or at all in pre-production - but I find that if I've had versions of the scripts, while it's annoying, it's helpful to know the history of what happened, because then you're speaking the same language as the director and the producer and everybody who already knows all of those changes, you know?
Nick Robinson (12:15)
Yeah, absolutely.
Caryn Ruby (12:17)
How about continuity? Let's talk continuity fails.
Nick Robinson (12:22)
Oh boy. Uh, <laugh>.
Caryn Ruby (12:25)
<laugh>
Nick Robinson (12:25)
Touching upon what I talked about earlier about getting the script in pre-production. So I had one where they, you know, they held off and it was a super complicated one. They gave it to me the night before I have a meeting with the writer who does a day night breakdown for us. And on that one, he starts, "Okay, this is gonna be day zero."
Caryn Ruby (12:48)
Huh.
Nick Robinson (12:48)
"And that leaves day negative one." And I'm like,
Caryn Ruby (12:51)
<laugh>
Nick Robinson (12:55)
You have to be F*ing kidding.
Caryn Ruby (12:57)
<laugh> that's terrible.
Nick Robinson (12:58)
Yeah. And that writer, he didn't understand color revisions. And so like, what I got was a big mess. Basically. There's an object that had to be in the scene and it's not there. And I only got it because wardrobe let me know after we're shooting the scene, "Hey, this needs to be there" because wardrobe knew about it because they had had the script for eight weeks. I can only do so much. If you're gonna set me up to fail and then I'm gonna fail. And it's like, you know what, if you're settin' me up to fail, that check better clear.
Caryn Ruby (13:34)
<laugh>
Nick Robinson (13:34)
<laugh> Look, I've stuck around in this business through some really F*ing hard times. Like this is another one of 'em. I'm still here cuz I don't do anything else. Like there's more productions. People are gonna shoot...all these streamers need content. There's kids coming out of film school every day who wanna do stuff. There's gonna be work out there. I'll find it.
Caryn Ruby (13:55)
Yeah. <laugh> I Feel like I wanna end it there. It was so good. <laugh>.
Nick Robinson (13:55)
<laugh>
Caryn Ruby (14:04)
The extraordinary script supervisors on this season include Dawn Gillam who scripted “Black Panther,” “Boyz N the Hood,” “Fences,” “Star Wars Episode IX.” and she also got IMDB to create a new category for script supervisors. Margery Kimbrough has scripted Academy Award nominees and Emmy and Golden Globe winners such as “Harriet,” “Fear the Walking Dead” and “The Good Lord Bird.” Known as the author of the quintessential book "Beyond Continuity: Script Supervision For The Modern Filmmaker," Mary Cybulski has scripted multiple Academy Award and Golden Globe winning films, including “Life of Pi” and “Michael Clayton.” Randi Feldman has taught the craft of script supervising for over 20 years. Her professional credits include the Oscar-Nominated”Mighty Joe Young” and Sundance winner, “Guinevere.” Barry Caldwell scripted on “Beautiful Boy,” “Ugly Betty,” “Key and Peele,” “Queen of the South” and the cult classic “Cabin Fever,” Sharon Watt scripted culture-shifting and award-winning shows “Pose,” “When They See Us,” “Mr. Robot,” “The Americans” and “Boardwalk Empire.” Hannah Driscoll script supervises the Emmy-Nominated series “Pen 15” as well as big budget commercials for well-known brands. Script supervisor on Emmy-Nominated “Dolly Parton's Heartstrings,” “The Originals,” “Ozark,” and “Zombieland 2 Double Tap” Toni Crey. Self-described internet prankster, Nick Robinson, script supervisors commercials starring A-list talent and films that premiere at top tier festivals. In addition to "Script Soup," her book on script supervising, Beatrice Bellino creates experimental films and has scripted Emmy-Award winners “Friday Night Lights,” “Revolution,” and “Fear the Walking Dead.” Shadia Sepehrnia scripted, Lena Waithe's Tribecca Award-Winning series "Girls Room" and also writes and directs. Administrator of Los Angeles Script Supervisors Network Robert Goodwin's credits include the Emmy Award-Winning “Dark/Web” and “Love is Not Love” which snagged over 100 festival wins. And finally multi-talented Roe Mooore scripts everything from films and commercials to live TV, teaches script supervising and is a member of the DGA, Local 871 and Producer's Guild.
While most script supervisors work in film, TV, and commercials, there are other productions where the script supervisor's job is almost completely different. In this episode, we talk to Beatrice Bellino Marjorie Kimbro, row Moore, very Caldwell and Hannah Driscoll about their favorite platforms and the challenges of scripting different types of media, including live TV and to choose your own adventure series on Snapchat.
Beatrice Bellino (16:44)
There's a deep, deep satisfaction in working on a film. I like the idea of the film is its own product. It's not selling something or it's not being produced for commercials to sell something or to sell a channel. So the art, the story is what is being presented without another agenda. You know, you're dealing with one director forming a relationship, understanding each other's language, being able to participate and help in a deeper way. I feel like the writers and producers and the director on a film are like aiming for the same goal, even though they all have their own responsibilities or their own what they're getting out of it. And of course the longer you're working with folks, you're all surviving it together or creating it together, and that's beautiful. And it could just be from my background and loving movies so much, but there's just something more satisfying in a different tone about being on a movie
Roe Moore (17:40)
Commercials. To me, I love working on commercials. I don't do a lot of features and I do a couple TV series here and there, but commercials is basically my bread and butter in the script supervising world. And the reason why I love doing commercials is I could do a feature for four and a half weeks. Make about, you know, depending on the budget between three to five, maybe sometimes seven or eight grand. Commercial, I just have to dedicate a day or two, sometimes three if it's a full campaign, and I can almost make equal to, if not more. And I get my time. Because on that feature, you're working 14, 16 hour days sometimes.
Caryn Ruby (18:19)
Yeah.
Roe Moore (18:19)
When I work on commercials, I can go and do three or four commercials a month. The rest of the month, I have free to work on my directing and producing and all that.
Caryn Ruby (18:27)
Yeah!
Roe Moore (18:27)
And I can make at least half of what I would do on two and a half/three weeks, and I can take a day off and then I can go do another two or three. Plus my ADD appreciates the fact that, hey, it's not same sh*t different day. Because I tend to get run down on features where I'm like, okay, it is the same actors. Okay. It is the same story. Okay. Yeah. We may be in a different portion, but it's still things are percolating. And I don't find that as exciting. Whereas in commercials, I got to go from buddy and Duff to animal kingdom and then I did an Nabisco thing and then I did hot dogs. So it's always something different.
Margery Kimbrough (19:04)
I don't have a preference for film over TV or the other way, but TV is generally more long term. It's more stable work. Especially if to show you're on goes multiple seasons. You get to know the regular directors and you get to know the actors really well. So you develop a rhythm and whatever family, social interaction over the course of the season of the year...and that's always really nice. And you do that on a film too, but then it's over. When I was doing "Brothers & Sisters," we were doing 22, 25, 26 episodes in a season. So we would be working together for eight or nine months, which is not - for me -not the same thing as working for eight or nine weeks on a movie. I worked on the first season of "Ray Donovan." And that was one story. I mean, episode three started literally exactly where episode two left off. So it was basically a multi-hour single story. You could not have told that story in a movie, because you only have two hours. If you're gonna tell an in depth story, like you're gonna adapt a novel, like "The Good Lord Bird," you don't wanna do it in a two hour movie. You wanna do it in an eight hour mini series. I enjoy the depth and range that more hours of storytelling give you.
Caryn Ruby (20:23)
Besides all those differences, the job itself even changes depending on the production. On quick moving shows, sometimes all you can do is keep up with your notes to the editor. On unscripted shows a big concern is tracking dialogue. And on commercials, timing is extremely important.
Beatrice Bellino (20:40)
I find that a faster paced show or one that's really technically heavy - or if there're a lot of cameras - it's difficult to participate as much, versus just keeping track of everything.
Roe Moore (20:53)
Here's the thing with commercials. By the time they get to us being on set of script supervisors, or even the production day, everything has been so meticulously planned out that there's very little variables when you get on set. Everything has been shot boarded, everything to the dialogue has been through a legal department. Everything as far as what the director's gonna tell the actors, all that has been already decided for you and for the director. So when you get on set, there is no guesswork. So for us, the most we have to do as far as prepping is really just read the script and get it under our belts and be like, okay, is this really a 30 second? Is this really a 15 second? And then we just have to execute timing, notes, and really backing up the director and backing up client and being like, "Hey, this is working, this isn't working...this is the shot that we had, this is what we're getting instead..." And really hearing those conversations and being aware enough to be like, okay, things are changing or no, we need to change what we are doing to match what has already been planned.
Barry Caldwell (21:53)
I've done interview commercials where we were interviewing people, like a lot of Toyota ads that just completely improvised. If someone's talking really slow, I can keep up with them typing up what they're saying. But if it's normal speech, it's just gonna get highlights. You know, he said something great here. He said something great there. And on game shows too, game shows are a real pain because they'll shoot two hours of material for a half hour episode. Yeah, you gotta really pinpoint what you think the producers want - as far as what the audience and the host say to each other. But like a scripted material is a whole different ball game, where you'll have your script and your little chunks of dialogue, and if somebody says something that's not what scripted, but it's brilliant, you definitely make a note of it. Write it down really quick and put it in your notes. Sometimes they'll say something great, but it doesn't make any sense. So you have to run to the director or the writer and ask them, "Do you wanna change the line that leads into this? 'Cause this is really funny, but it's not really in reaction to..." And so sometimes they'll go, "Yeah, go change it." Or sometimes they'll go, "No, he has to say what's written." To boil it all down, every show is different. <laugh> what their needs are from you as a script supervisor is different.
Caryn Ruby (22:58)
But the most different type of show to work on is a live or live-to-tape show because those require certain tasks that are usually handled by a script coordinator. Roe is an expert in this area
Roe Moore (23:11)
On live things, essentially that role is a combination between coordinating and script supervising. There's very rare chance that you have to work on continuity, cause it unfolds, and when it's done, it's done. And you ain't coming back to that unless it's like a line pickup, or if something really goes awry. You gotta be able to tell them where to restart from that's gonna make a clean edit. But outside of that, the continuity question kind of goes out the window. You can't not be paying attention. It is every second, everything could change. Then you've gotta just be ready to hear it at any moment while you're still paying attention to what's going on in the current moment. The biggest thing that is similar to script supervising is still the edit log. So when you're doing a live show, you still need to capture time code.
Roe Moore (23:56)
You still have to say when segments are happening. That way the editor can quickly go for those and find the time codes and be able to pull that footage for that segment and re-edit it in the quick time that they have to turn it around. That's the one thing that's very similar. But everything else, you have to format the scripts - which is the coordinating side of it. You've gotta pay attention to the continuity and the scripts, making sure that if you do call back to something, what episode was it and all that kind of stuff.
Caryn Ruby (24:22)
Okay. This next one may not be the most unusual as far as job duties, but continuity takes on a whole new meaning in a "choose your own adventure." Hannah tells us about her unique process to manage multiple storylines and keep everything organized for the editor.
Hannah Driscoll (24:39)
I got a script from my friends who I've worked with for a while and uh, they do narrative and they said, "You know, this is a really unusual situation. It's a choose your own adventure. How do you feel about that? Would you like to do that? We don't really know how to label things. We don't know how the AD should schedule things." I mean, the script is organized, in like the traditional sense. It says at the bottom of a scene: go to scene 4B. If you choose all these different options, if you choose option A: go to this part. Option B: go to this part. So it's very much like hunting for the next option.
Caryn Ruby (25:10)
Oh my gosh.
Hannah Driscoll (25:10)
Very, just not, not an organized way. So basically what I did was I took it into a more visual format.
Caryn Ruby (25:16)
Mm-hmm <affirmative>.
Hannah Driscoll (25:16)
I put it into tables so that you can see each option as you read. So you're reading the main one and then you have what's called "idle dialogue," which is where your menu pops up.
Caryn Ruby (25:25)
Oh, for the screen for people to choose.
Hannah Driscoll (25:27)
Mm-hmm <affirmative> yeah.
Caryn Ruby (25:28)
Okay.
Hannah Driscoll (25:28)
And then you do each option, but, so that the director and the talent doesn't get lost on set, I put everything into a table. So I have it like option A is just in a column.
Caryn Ruby (25:38)
mm-hmm <affirmative>.
Hannah Driscoll (25:38)
and then B is in a column and C's in a column. So it's managing three different storylines instead of one. So when you're shooting it, you go down each form and then it it'll tell you which table to go to next. So it's a little bit more visual. And then on top of that, I number the dialogue. So even if you get confused on which option, which does happen, I found, working on the first one this, uh, past year, if you say "Option B" and not everybody realizes that Option B is a certain dialogue. So like talent will just say what they wanna say and, and all this.
Hannah Driscoll (26:03)
So if you say, "Oh, I wanna read line 151," then you know, oh, okay. Let me look at my sides really fast, that's Option B, let me start at 151. So your shot description would be something like a "handheld medium shot of character, A reading lines, 151 through 171." So the editor will use my format and go through those lines in the new format that I've used the tables and not get lost. You just have to see a way to give the director the freedom to shoot all three options or just one. So your slate, can't just say "Option A" on it, "Scene 3, Option A," you would have to like make it a little bit more generic in that sense. So you kind of go back to commercial slating in that sense where it's just consecutive very generic. There is really no script type of thing.
Caryn Ruby (26:48)
I really don't understand why script supervisors don't get recognized with any awards, because I think Hannah definitely deserves one for that.
Caryn Ruby (26:58)
That's it for this episode! Special thanks to all the script supervisors who were featured, and to you, our listener. I hope you had fun and maybe even learned something. “Script Supervisors: Unsung Heroes of Film & TV” was created and produced by Caryn Ruby in consultation with the Los Angeles Script Supervisors Network. Episodes were edited and produced by Eden Woolworth with original music composed by Edith Mudge. Please subscribe wherever you get your podcasts and give us a rating or leave a comment. And if you know anyone who makes movies without a script supervisor, let them know about us. We are @The.Script.Supervisor.Podcast on Instagram.