May 13, 2010

More Questions

Yes, yes, I'm a bit behind. Yes, I should have posted last month...but hey! This month will be super-sized for your reading pleasure!

Starting off with some e-mails:

Dear Script Goddess: I have been doing script supervisor work for almost 2 years now, but Ive only worked on short films, mostly students films.

I am looking for an internship, or a mentorship, or anything like that for this summer. It doesn't have to be an official internship, I just would like to meet with a script supervisor, and maybe "shadow" him or her on a project, from the pre-production to the production to see how things are done exactly, and how I can improve. I'm already emailing local 161 and the script supervisors network.



Script Goddess says: Emailing local 161 is a brilliant idea. Also try sending in your resume to get on any 2nd unit feature work. Anytime you offer yourself up for "free" is helpful too. (Not just shadowing but offering to type up notes, etc.) Also, I can't stress enough what makes a good scripty is editing experience. Offering to help out in a editing house will make you that much more skillful. Good Luck...

Dear Script Goddess: I do have a question for you regarding training - I have recently decided to pursue script supervising after doing a favor for some friends by doing continuity on a short and music video. I really did not know what I was doing at the time but somehow managed to make it work. Now that I want to do it for projects not involving my friends (who patiently beared with me!), I would like to take a workshop or course here in New York. However, I am having trouble finding shorter term courses. Do you know of any on the east coast you could recommend?

Script Goddess says: ScriptE links to Randi Feldman workshops check them out. And like the previous question, offering to work for "free" and/or getting on a feature will garner you some additional experience.

Dear Script Goddess: I'm really passionate about script supervising even though I haven't even started a career yet. So I'm looking for advice like what kind of formation I should follow, as it's difficult to find courses about this particular career. I live in Vancouver just in case you have "local advices" to offer me.

Script Goddess says: Anyone out there in Vancouver that can give this young scripty some help? My only suggestion would be to contact the union in Vancouver I'm sure they can direct you to some courses.

Dear Script Goddess: I had a question about timing the script....are there any special techniques to it apart from just reading it out loud? I assume the dialogue bits should be pretty simple, but in terms of the action parts? Any info would be much appreciate!

Script Goddess says: Timing the script takes a bit of skill, but it gets easier with experience. I always time the script by reading the scenes and the action sequences out loud. If it just says "car races along freeway" I pause for a couple seconds to visualize that. If it's "actor A grabs knife from actor B, causing actor B to fall from the ledge to his death," I've found reading all that detail out loud kind of resembles how much screen time the scene might take. Your initial timing of the script is a rough guess as to how much screen time is required for the film. Also a point to remember that each script page roughly amounts to one minute of screen time. Now that's not always accurate due to the fact some actors like to "Shatner" their dialogue and draw things out, whereas others like to speak quickly and mumble (I watched Sherlock Holmes recently)

As you time out each days' filming you will get a better indication as to if the movie is running long or not. Critical timing for me has always been in television and commercial work (a whole new post). On shoot day I can (and often times have) walked up to the agency and said "Are you on crack? You think this actor can say all this dialogue in 15 seconds and not sound like an auctioneer? You need to cut something!" Ok, the filter is usually working well enough so I don't say it quite like that, but I definitely think it.

Any scripty's out there...please add your 2 cents!!

6 comments:

Anonymous said...

I have a question--I'm working on a show where for some reason, they insist on numbering added scenes with a letter after the number. For example: 10A falls between scenes 10 and 11, instead of the more convenient A11. How would you go about slating a scene 10A? Obviously, I can't just put "10A" on the slate, as I will use 10A for the second setup of scene 10.

Scripty said...

Great question! I have had that happen many times! And yes, I agree calling the scene A11 would be preferred. You can do one of two things. Either make an executive change and slate it as A11 making sure the AD and everyone on gods green earth know that you made the change. Or, when you get to 10A's coverage you do double letters 10A-A 10A-B and so on. Really in the end if your notes and the slate match the editor will figure it out.

sundryandco said...

I am residing in Ireland and unfortunately would not be able to do one of those courses "on location" - I was wondering if you could recommend any good online courses? Thanks!

Caralee said...

Hi there. I'm trying to decide between the two books you recommend here in your store. If you had to pick just on as a beginner script supervisor. What would you advise? I tried to locate an e-mail for you on the site here. Do you have one for questions?

Scripty said...

Hey Caralee

I would recommend Script Supervising and Film Continuity by Pat Miller.

The "Contact Me" is directly under the ad for the Pat Miller Book!

E-mail away!

Scripty!

Anonymous said...

I'm thinking about taking Randi Feldman's course in Los Angeles, but I can't find any reviews/comments/even negatives on the internet. Do you know anything negative or positive about her course - or would you reccommend another course instead? Thanks!