The Cine Technician (1935-1937)

48 The Journal of the Association of Cine-Technicians Aug. -Oct., 1936 Script Girl By Toni Roe When a script' girl goes on the floor at the commencement of a production, she is undertaking the responsibility of seeing that in the final version of the film in question there shall be no "continuity" mistakes. These mistakes are found when the film is cut, if the action or clothing of the artistes or the properties on the sets do not match up from one shot to another — and it is essential for the ultimate smoothness and polish of a good film that they should be avoided. Hence it has been found necessary to employ a script girl on every film unit, and it is her duty to take copious notes in shorthand during the shooting of a film, checking all details regarding matching and general continuit^•. Quota and Quality [cmiiimied from page 47) that quality should be the object of that new Act ; and that a cost basis is the simplest method of ensuring quality. The figure suggested is a minimum of £2,500 per 1 ,000 feet for long films. But they ask for a steep raising of the quota percentages to an eventual 35% for renters and 385% for exhibitors. Films costing less than the suggested minimum to carry a title, after the main title and at the end of the picture, saying "This is a Renters' Quota Film, acquired by Messrs. . . . to enable them to distribute foreign films." No long film costing less than £4,500 to be eligible for renters' quota at all. They further ask for the new Act to prevent the showing of pictures during 'dead' hours ; to encourage the production of documentary films ; to abolish the necessity of the scenarist being a British subject ; to increase penalties for non-compliance with quota provisions. Some of the larger suggestions made by the Film Producers have since been invalidated to some extent by the public statement of Mr. John Maxwell (Chairman of J-J.I.P.) that he dissociates himself entirely from their proposals and is resigning from the Group. It is significant and gratifying to see that the facts and figures given by the Board of Trade, substantiate most of the statements of principle and many of the allegations of bad practices made in the various evidence. For example, the figures of quota footage liabihty as compared with actual footage registered (Table E in the report), which shows how exactly the "foreign-controlled companies" met their obligation, to the nearest thousand — neither less nor more. Which should be taken in conjunction with Table F. Estimated (weighted) Average Marking of Films in 1934. Registered by British Films. Foreign Films. F)ritish Companies, Foreign Companies, 8 7 8 (This is, of course, the C.E.A. review marking, based on a maximum of 10). Sidney Cole. To keep a record of these things, she types her notes out on "Continuity Reports." These report sheets constitute a very large part of her work, and are extremely important, as they are the only written record kept of the exact shooting of the film. From these sheets all other reports, etc., on the progress of the production are based. A copy of these is also sent to the editor every day, to assist him in cutting the film. One sheet is made out for each shot taken, and on it is typed the exact dialogue and corresponding action covered, the camera set-up and lens, the number of takes with the footage of each and which are to be printed, and the screen time of the shot. If there are any special technical details, such as playbacks, back-projection, model shots, or any other form of trick photography, a note of tliis should also be made. Any special instructions from the director of the film to the editor regarding the cutting are typed on these reports too. The script girl is definitely attached to the director whilst on the floor, and is there to supply him with any detail he may desire to know regarding what has already been shot, or about any part of the script that has not yet been filmed. The numbering of the shots is also under the control of the script girl, and she issues the correct number to the clapper boy and Sound Department before every scene is taken. There are many different ways of numbering, but whatever method is employed it is vital that the corresponding script numbers should be typed on the continuity reports for the editor's reference. A special chart should be kept for all the costumes, andan exact description taken for every artiste at the commencement of each fresh sequence for reference throughout. One soon gets to know the tricky things in costume matching. For instance, it is not really likely that the leading man will completely forget what suit he was wearing in a certain sequence, but it is quite probable that he may not remember whether lie had a handkerchief in his breast pocket, and if so how much it was showing ; if he had a gardenia in his buttonhole, or a carnation. Similarly, the leading lady will not forget what evening dress she was wearing very easily, but she might forget her earrings, or any other jewels. Hairdressing is another thing that must be matched carefully. Do not let the leading lady change her coiffure in the middle of a sequence, or the leading man have a hair cut, or the Villain his beard trimmed. Yet another of the script girl's responsibilities are the matching of the "props" — that is furniture and fittings on the sets. She should get a "set .still" of every set at the beginning of each sequence to establish these things, and make diagrams of anything particularly vital. In urgent cases, where there is some doubt regarding the matching of a shot about to be taken with one already taken some time back, a few frames of the completed shot can always be obtained from the cutting room, and the matching be done by these. Very often a script girl is employed for a considerable period in the office before the actual shooting of the film begins. During this time, she usually helps with the compiling of the script — sometimes typing it, which affords her [Continued at foot of next page) J^H