How to get the job and negotiate pay (hint: know your worth)

In this episode we take a deep dive into negotiating and advocating for yourself. What are the best practices to make sure you’re not getting less than someone else who is just as experienced and skilled? 

But first, an interview with multi-talented Roe Moore that was recorded IN PERSON before the pandemic. Roe scripted on the Fresh Prince of Bel Air Reunion Show, Emmy-award winning RuPaul Drag Race, Sundance Film Festival winner Entertainment and multiple commercials and branded content.She’s a member of the DGA, Local 871, the Television Academy, and the Producer’s guild, Roe also directs film and theater and teaches “Script Supervising Made Easy” online. 

www.roemoore.com, www.scriptsupervisingmadeeasy.com

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

Transcript

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

Roe Moore (00:36)

I Don't know what I'm supposed to do. I just don't wanna f* up. I just don't wanna f* up!

Sharon Watt (00:39)

You've gotta talk about pay, that's how you know that you can fight harder.

Nick Robinson (00:44)

Negotiation is a chance for them to show you who they are.

Robert Goodwin (00:49)

If you want my best work, then you have to pay me to do my best work.

Roe Moore (00:53)

You get to step up your game.

Shadia Sepehrnia (00:55)

If you don't value what I'm doing, then why would I bring any effort into your production?

Robert Goodwin (01:00)

Never do work that you're not being paid for

Caryn Ruby (01:04)

This episode. We feature multi-talented Roe Moore in an interview that was recorded in person before the pandemic. Roe scripted on "The Fresh Prince of Bel Air" reunion show, Emmy award-winning "RuPaul's Drag Race," Sundance film festival winner "Entertainment", and multiple commercials and branded content. She's a member of the DGA, Local 871, the Television Academy and the Producer's Guild. Roe also directs film and theater and teaches her course "Script Supervising Made Easy" online. After the interview, stay tuned for an enlightening conversation about interviewing, negotiating, and knowing your worth. Hi Roe.

Roe Moore (01:47)

Hi <laugh>.

Caryn Ruby (01:48)

Oh my God. I'm so happy to have you here.

Roe Moore (01:51)

Thank you for having me. This is exciting. <laugh>

Caryn Ruby (01:53)

Good. So the first thing I wanna talk about is how you actually got started as a script supervisor, because I don't think anyone has the same route as anyone else. So let's . hear your story.

Roe Moore (02:03)

So ironically, I started getting into the entertainment industry back in like 2007, 2008. I was back in Colorado. I got bit by the bug for acting and it was at the time that YouTube was starting to become a place to source talent. And so there was that big push to start creating your own content and getting your name out there, all that kind of stuff. And so I started learning, not just what was happening on camera for me as an actor, I started learning behind the scenes. And I auditioned for a feature film in Denver called "Valentine's Day." The director loved me, but unfortunately it was a mother daughter role, and the mom they picked would not have worked. And so I was like, okay, well, that's fine, I appreciate you. And he's like, "why don't you just come work on set?" I could use some help.

Roe Moore (02:43)

You could learn alongside. And I was like, oh, okay. And the first day on set, I'm sitting there in the little corner being like, I don't know what I'm supposed to do. I, I just don't wanna F* up. I just don't wanna F* up. <laugh> and I happened to notice when we did the first scene that the lady who was the mom switched the bag in every take. And after a while, I was like, I'm not trained. I, I don't know a lot about filmmaking, but I don't think you can do that. And it totally caught the director by surprise. It caught the actors by surprise. And that was when I was like, oh, well, what is this? I didn't even know continuity was a thing.

Caryn Ruby (03:13)

So they didn't have a script supervisor on this film.

Roe Moore (03:15)

No, it was a crew of three people. So the cameraman, me and the director, and then the cast that's literally how small this film was. And it was a feature film.

Caryn Ruby (03:23)

Oh, no sound?

Roe Moore (03:23)

Yeah, we had audio.

Caryn Ruby (03:24)

Oh, okay.

Roe Moore (03:25)

Sorry. So yeah, I guess four people.

Caryn Ruby (03:26)

Okay.

Roe Moore (03:26)

But yeah, I mean that director, we went to a screening for it in front of the Colorado actor screenwriter's assembly, which is a small community in Denver. And he pointed me out and was like, this girl has more to offer than what she's showing. So we need to really keep an eye on her. And I was like, what? I don't know what that means, but okay. <laugh> um, so fast forward, basically I did a lot of stuff in Colorado. Went to New Mexico, did some stuff, came out to LA and as I was still struggling as an actor, because I'm a certain type I'm blonde, tall, white, there's a ton of competition out here like that.

Caryn Ruby (03:56)

Yeah.

Roe Moore (03:57)

So I got tired of not being able to pay my bills. And I thought back to that memory of me pointing out that and being that on that film. And I was like, what is that? So I Googled, I found where somebody advertised for script supervision classes, Happened to be Mark Thomas, a 25 year vet. We all in the scripty community kind of know him. So he trained me for eight weeks, got me up and running. And after the eight weeks he brought in two actors and we did a one page scene. So he could see how I line the script, how I put the facing page together, how I interact and talk to the director so I could get some life experience. And the rest was history.

Caryn Ruby (04:31)

That's amazing.

Roe Moore (04:33)

Here's the thing. And like I was thinking about this on the drive over, okay. Cause somebody posted saying 2020 was their year to try and really make script supervising their career and their full-time gig.

Caryn Ruby (04:43)

Mm-hmm

Roe Moore (04:43)

Ok. Somebody posted on that comment thread saying, "Hey, there's not enough jobs for all of us. We're a department of one.So a few times, however many productions, there are, times however many script supervisors there are..." I'm sorry. I had to stop off that thread because I was like, there's a job for everyone who wants to do it. It's just that the good people rise to the top. And yes, if those good people continue to get called for more than one job, they deserve it. But that also means you get to step up your game. And whether that means you gotta step up your networking game, you gotta step up like the guy who proudly, put it out there saying, "Hey, this is my goal. Somebody let me know." You gotta be willing to do that, but you gotta find a way to step up your game.

Caryn Ruby (05:18)

So your skillsets' there, your networking is on point, and you're a good, friendly, nice person to have on set. There's no reason you won't work.

Roe Moore (05:24)

Right. Or find a niche. Like I've found a niche in my commercials. I've found that niche. That's where I like being. And I've learned how to be strong in that environment. And then go find the producers, and like just inundate them and be like, "this is what I'm learning, and this is why I wanna work in this. And I wanna work with you." That's another way that you do it. And I feel like, everybody's like, oh, you gotta know somebody who knows somebody. Like I came out here knowing nobody. And yes, you do have to get to know people along the way as you're out here and continue to talk and stuff like that. But a lot of it is you gotta figure out how to approach, what information to share - not share, and all of that will help you get where you want to go.

Roe Moore (06:00)

Cuz I promise you if you network, if you tell other script supervisors, Hey, I'm looking for work. Or even if you tell them, Hey, I don't know what to do right now, but my career's frozen and I need help. You'll get a ton of answers. Everybody just loves having the mystery of how it happens.

Caryn Ruby (06:12)

Mm-hmm <affirmative>.

Roe Moore (06:13)

and when you demystify it, people go, oh, and then they're demotivated, I guess. I don't know <laugh> but yeah. I mean that, that's just something that's near and dear to my heart because obviously I've found a way to make it work. There's been other people that have made it work

Caryn Ruby (06:26)

Thousands and thousands of people that have made it work. So...

Roe Moore (06:29)

Exactly.

Caryn Ruby (06:32)

When you're a script supervisor, what is the one thing that like, if that happens, you're like, AHHH!!

Roe Moore (06:37)

Cause at first I was like, oh I have no answer. Cuz usually I'm so easy going on set. Like I've learned to just not take things personally. So when somebody says something dumb to me, it just goes over my head and I just go, this is a teaching moment. Let me like, be the most helpful loving person to this person. But like, I guess the biggest pet peeve is when I explain something and I've explained it and I've explained it and then it doesn't work out the way that it's been explained. And I'm like, okay, where in my communication did it not come out correctly? That's probably one of my biggest pet peeves. And like, I wish it was just a little bit more seen and like Barry Caldwell. I have to give him a shout out cuz he goes through all the projects that got nominated and he finds all the script supervisors and he gives us shoutouts on the little scripty boards and stuff like that. And like,

Caryn Ruby (07:21)

But I didn't know about that until I was in the Facebook groups.

Roe Moore (07:24)

Right.

Caryn Ruby (07:24)

And it's great for us as a community to have that. But -

Roe Moore (07:28)

How do we get the industry to recognize it?

Caryn Ruby (07:30)

Yeah.

Roe Moore (07:30)

I guess the other pet peeve is like not having tea. I understand that we're like an industry of coffee drinkers, but if you wanna really make me mad or have a bad morning, just don't have hot water on set.

Caryn Ruby (07:41)

Thank you.

Roe Moore (07:42)

Like that makes me cry. Especially if it's winter. I did a feature film out in Kentucky. We were shooting in the woods. Nondescript, unincorporated woods, had no heaters had no hot water. Had basically only coffee, and like I literally was holding the coffee cup to stay warm and I had six layers of clothing on, nothing was saving me. But like not having hot water on set is just it's driving me bonkers. <laugh>

Caryn Ruby (08:10)

I agree with that.

Roe Moore (08:11)

That will be my pet peeve. Yeah.

Caryn Ruby (08:12)

Thank you very much. So the multifaceted, multi-talented, amazing Roe is also teaching script supervising.

Roe Moore (08:23)

Yes.

Caryn Ruby (08:23)

So if you guys are listening and you wanna learn script supervising from somebody who knows all of the aspects...

Roe Moore (08:30)

mm-hmm <affirmative>.

Caryn Ruby (08:30)

You are in luck. Yes, because now you're teaching online, right?

Roe Moore (08:35)

Yes. Uh, I set up a nice online class. That'll be my normal in person class cause I got so many requests of like, "Hey I'm in New York," "I'm in Chicago," "I'm in Oklahoma. I wanna learn, but I can't afford to come to LA." And I work so much that I don't have time to go out there and teach them. So the script supervising classes that I offer, the name of it is "Script Supervising Made Easy" because you have to be able to break down what we do in a trade to that level. So that's why I call it script supervising made easy because I bring it down to that level and then bring you back up to speed. And we run. So what I've put together is a 26 chapter online class and you go through each segment. So we cover like the facing page.

Roe Moore (09:14)

We cover continuity. We cover all of the reports, everything that could happen on a job, especially the differences between commercial TV, film, all those kinds of things. And it's got a video component. So you watch the 20 minute video. It goes in depth of how to fill it out, how to handle it on set, what your workflow can look like, how to kind of create your own workflow depending on what you're doing. And then it has worksheets. It also has like PDFs for you to keep you just work through all these different chapters. And then by the end you get a certificate. It also will have a component where people who are taking the class in addition to you, you can talk to them and kind of see what their insights are.

Caryn Ruby (09:50)

So the lessons air at a certain time and everybody watches them and then they interact with each other and then you're available for questions and feedback?

Roe Moore (09:58)

Right. It is all self-paced too.

Caryn Ruby (10:00)

That's awesome.

New Speaker (10:01)

Yay. <laugh>.

Caryn Ruby (10:04)

So, I mean let's put out in the world how everyone can find you say all your websites and your feeds and Twitters or Instagrams or however you want people to find everything.

Roe Moore (10:16)

So yeah. My website is www.roemoore.com.

Caryn Ruby (10:21)

Perfect. This was so great. This was so informative. Thank you for sharing all your experience and your knowledge with us and the world.

Roe Moore (10:28)

Of course.

Caryn Ruby (10:29)

Thank you so much, Roe.

Roe Moore (10:30)

You're very, very welcome. Thank you for having me again.

Caryn Ruby (10:34)

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.

Caryn Ruby (12:45)

In this episode, we talk about finding work and getting paid, which leads to a discussion on knowing your worth and negotiating. Even though we're focused on script supervisors, I think everyone can benefit from the stellar advice from Margery Kimbrough, Mary Cybulski, Robert Goodwin, Shadia Sepehrnia, Nick Robinson and Sharon Watt. They'll share some inspiring stories and helpful tips on how to advocate for yourself and what you deserve. Plus, we'll touch on what we can do together to avoid exploitative situations in the future. We start with some serious wisdom from Margery and Mary.

Margery Kimbrough (13:21)

When I was starting out, I never turned down work. Never, ever, even if it was dumb, I can't tell you how many low budget non-union 24 day thrillers staring two has-beens and a no talent blonde that nobody but the editors would ever see. I did 47 of those! On the other hand, I got my days, I worked with a lot of interesting people doing some terrible scripts. I had a lot of fun. I sharpened my skills, learned an enormous amount of things. And so I can't complain about any of them. And occasionally something will surface where one of those will turn out to have been a good story,

Mary Cybulski (14:02)

But keep in mind that our careers are built on networks, and it's word of mouth and who you know, and you start working for a group of people and your next job is probably gonna come from that group of people. And then your next job from the two groups of people and your jobs will expand like that. I think it's probably pretty useful to think about, in your best world, what sort of career would you like? Like for me, I really wasn't interested in being like a big Hollywood script supervisor. I wanted to work on really interesting projects and I was lucky enough that I started out with people doing work that I really was interested in. I thought they were really up to something, and that led more people who were kind of in the same frame of mind. And that just kept me going in a really satisfying direction. And it could be that for new people or it could be like, I just wanna join the union to make the biggest rate I can. So that's fine too.

Margery Kimbrough (14:54)

Job can bring you three things: money, satisfaction, career advancement. The best jobs bring you all three. Most jobs give you only two. But if you take a job for only one of them, you have no business complaining about not having the other two.

Mary Cybulski (15:10)

When you can afford it, steer your career in a way that would make you happy. So if you have choice of a couple jobs, maybe one would pay more. But the other one would be more interesting? if I could afford to do the one that was more interesting. I would do that because I would have in mind that that would lead me someplace further along the place I wanna be than just pay the rent.

Caryn Ruby (15:31)

Which is awesome! But paying rent is important. And my personal belief is that people should be paid for their work - unless it's an agreed upon volunteer situation. Experienced script supervisors know that in order to do a great job on set, we need time to prep. We read the script many times, create and distribute breakdowns, spreadsheets, attend rehearsals or tech scouts - all kinds of things. But how can we communicate to the producers - or whomever's hiring us - that getting paid for this work is necessary?

Shadia Sepehrnia (16:03)

Here's the funny thing. Ever since I started asking for prep, people are like, um, yeah, let me see if we can get it in the budget. So then that clicks into their brain, "Oh yeah. She can't just show up on the day of, and just expect to know everything." And they still expect you to turn in your notes right after production, on time. And part of me wants to say like, well, I'll turn it when I feel like it, because you didn't even pay me for wrap and they don't even know that. So I think it's our responsibility to educate them and be like, Hey, this is part of the deal. So, you know, so that they can figure it out too, cuz they, a lot of times they have no idea.

Caryn Ruby (16:38)

Right. But constantly explaining and justifying why we should be paid for the work they expect us to do can get tiresome. Robert Goodwin shares his surprising and successful tactic for when they don't wanna pay you for prep, and his inspirational philosophy behind it. You said, "okay, fine. I'll read the script when I get to set."

Robert Goodwin (17:05)

<laugh> yes. That is usually my go-to response for that because it has happened definitely more than once where they just assumed that I would come with all the preparations that I would normally get paid for doing just because like that's the way I need to do my job. So yeah. I've had them where they were like, "Hey, here's the script, but we're not gonna pay you. I was like, okay, well, you know, I'll read it when I get to set and I'll have those pages covered, but just know that like if you ask me questions about things happening on a future day and I haven't done my prep work for those scenes yet because we haven't had enough time where I've been on the clock for that, then you know, I'm not gonna have those answers. And I'm very straightforward with them. I'm like, if you're not gonna pay for prep, I'm not gonna do prep.

Robert Goodwin (17:49)

So you're setting me behind, but you're also setting you behind. And if everyone takes my philosophy, then things would work a lot better. The problem is a lot of people are willing to do that because they're afraid that if they come to set unprepared that they're not gonna do their job as well as they want to do. But I always say the philosophy that this is work and this is a business and you get what you pay for. And if you want my best work, then you have to pay me to do my best work. If you want the minimum work and you just want to pay the minimum, that's where you're gonna get. If you expect free work, then you can expect to be kind of disappointed. Cuz I don't think anybody should be exploited like that. And I'm not gonna just allow myself to be exploited like that.

Robert Goodwin (18:31)

Never do work that you're not being paid for. This is an industry. And unless you're doing a project for friends, you don't owe anybody anything. And I would say more often than not, they end up finding the money to pay me for prep. And even if they don't hire me, hopefully they learn for whoever they hire next. And you know, in a community like script supervising, it's not just about me. Like I have to also think about how the things I agree to affect other people in the future. I don't want to be a party to this idea that a production can get away with not paying prep days because script supervisors will just do the work anyway. You know, I wanna show them, Hey, you want this done? Then you've got to budget for it. And I have heard stories where a production, maybe doesn't call me for the next job and calls somebody else. And then they offer them prep days.

Caryn Ruby (19:22)

That's a huge win. But what if you lack the experience or confidence to pull off Rob's winning tactic? How can you effectively advocate for yourself and avoid the pitfalls? Sharon, Nick and Shadia make super important points about the difference between good jobs and questionable jobs and share when it might be best just to turn down a job altogether. Not only for you, but for all of us.

Sharon Watt (19:50)

Negotiating. I mean, everyone says this, like it is a skill and it's weird cuz I don't feel like I learned negotiating as a skill consciously. I think I learned negotiating through experience, and I think it really does come from experience because you know, when I talk to newer script supervisors and give them advice on how they should deal with certain situations, which really all boil down to advocating for themselves. When I give them advice on that, I can sort of see in their reaction that like they don't feel that they have the power in themselves to do that. But I think you need to have the confidence behind the language to say what you mean. And there's no shortcut to that. It all comes from experience. Like you get the confidence through experience. You know, you get the confidence by having been put into a situation several times and you're just not going to do that anymore. That is not the way that I roll. I've put up with this and I'm not gonna put up with it anymore. And that only comes from having gone through those experiences where you were exploited or misled or abused by productions, and you really have to sort of take what you can from that. Just edify yourself and make sure that it doesn't happen again.

Nick Robinson (21:03)

If they're not gonna pay me right, odds are that production is not going to be that much fun. It's gonna be a lot of stress, there's gonna be other things involved. When I've seen questions of safety on set, it's not been my very good paying jobs. It has not been when I'm on The Lot. When I have seen PAs mistreated, it's not been on the good jobs. When I have seen questionable business practices. When I have been just talked down to by a producer or someone else, it's not been on the good jobs. The negotiation part is a chance for them to show you who they are.

Shadia Sepehrnia (21:47)

A lot of low paying jobs, they don't treat you well. There's just no respect. And so I think the more you're paid, the more you're showing like, Hey, I deserve to be respected and valued. And what I do is important. People all the time want to pay the script supervisor the lowest amount of money. That's what they do. I always hear this because people tell me, "We have a low budget. Well, we don't really have money..." But then you find out like catering, props, art...there's always money for that. So then you're kind of like, wait a second. That's kind of cutting our department and that's not really right. So if you don't value what I'm doing, then why would I bring any sort of effort into your production?

Robert Goodwin (22:28)

Everybody in this business, if they're the ones paying, they don't want to pay very much. They want to pay as little as they can. So appeal to them that, Hey, this is the minimum that you can pay for this kind of job. And if you want to pay that much, this is what you're gonna get. And that's really how I've approached everything in this industry too is that I'm the professional on my end, I'm gonna tell you what I need to get the job done to the standard you're expecting. And if you can't meet that, then you're not gonna get that. So here's what you will get. You're okay with that? Then we're all in understanding. And when you get that, you can't complain, right? You've agreed to it. You know, what's coming.

Nick Robinson (23:09)

The big thing about negotiation is you have to set your rate and you have to be okay with not doing a job. There's jobs I've wanted that it was okay that I got less because I really wanted to be a part of this. Rent's still due.

Shadia Sepehrnia (23:26)

I have to turn down jobs, which stinks. I hate doing that. I hate it more than anything, but I realize like at the end of the day, there's always gonna be more work. There always will be something. And the more pay I think you take, the more people will take you seriously. If you just take anything they give you, they kind of will get away with that even for the next person. And that's not fair.

Sharon Watt (23:47)

That sort of like awakening is also for script supervisors because it is still very much a female dominated craft. When you work alone and you don't talk to anyone, you don't have any support then you're working in a bubble a lot of the time. You really have to reach out to your peers to sort of get a real sense of what's going on out there. And especially when you're starting out, you just feel so lucky to just even get the job that you just wanna keep it going. You don't want the luck to run out. You wanna keep the contacts going and you want that next job. So you take all these deals, which are kind of beneath you, but you wanna stay in the loop of things. So if we don't talk to each other, then we don't know about other situations that we might find ourselves in.

Sharon Watt (24:26)

So you've kind of got to talk about pay. You've gotta talk about your deal because that's how you know that you can fight harder for yourself. That's how you know that like, well, gee, I've been struggling just to get $15 kit rental for the past three years. And I didn't even realize that some people are asking for $50 bucks, you know <laugh> and it's like, you don't know that unless you talk to other people. I think a really important thing about these networks and these Facebook groups, and I'm sure your podcast will help with that too, is just to make script supervisors aware that even though we're sort of working alone, there is this community out there that can help you, but you've gotta show up. You've gotta be a part of that community. And the more you give, the more you get back, I mean, that's how communities work.

Caryn Ruby (25:13)

Exactly. We're all in this together. So if you're in New York, join Sharon in the New York Script Supervisors Network. If you're in LA, you can join LASSN, the LA script supervisors network. And if you're on Facebook, there are a ton of script supervisor groups, just search for script supervisors!, Digital script supervisors, Skarratt using digital script supervisors, Non-union script supervisors....I mean, there's just a ton of them. Join us online and be part of the community. See you there. 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.