It's a daunting thing, being confronted with a 36 page script. I'm grateful I wasn't one of the actors trying to learn all that dialogue, as it was I was production/continuity/wardrobe and that had its own challenges.
My approach was to take detailed notes of each scene, along with info on script days etc, and to take lots of pictures (thank you iPhone 4). Theoretically nothing could go wrong, and as far as I can tell nothing did; the proof will be in whether Flo, the editor, bangs his head on the desk and bemoans the sudden change in position of a tv remote (or something).
On a little note on continuity, while it's important, I don't think it's the most important thing ever. The people who smugly point out that a prop in the background of The Godfather moves around are missing the point.
I also promised I would sing the praises of Connor our runner. He's applying to DFTV in the very near future and he certainly has a strong work ethic. He was on time, uncomplaining about tasks like "run out and buy some tea lights" and conscientiously asked round the cast and crew for tea and coffee orders. My one criticism would be that he washes up in the most terrifyingly inept way possible, but that's not really relevant.
What I learnt:
"Floozie" can refer to a rather excellent bag you put over a Kino which diffuses the light prettily.
It is possible for a shoot to run on time (well scheduled by Sam and well AD'ed by Murray).
Beware the old 1st AD's technique of lying to the director when you're ahead of schedule. If they find out, when you really are behind schedule it's like the old story of the boy who cried wolf.
I now know how doctors feel when they watch medical programmes: seeing an actor who is a fantastic actor but knows nothing about filming pretend to handle kit is squirm inducing. When you see the film watch out for the part where an XLR is mangled.
Carlo is only 20 years old?? He's brilliant.
I now know how to mark up a board (even if it was Amelie's job and I was just watching).
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