Tommy Metz III

What hand did he use to bring his chair out? When did he start rubbing his eyes? When did he cross his arms? It doesn't have to be perfect, but it has to be close enough. And then I have to not breaking the actor's actoriness. sort of just slide in after the director gives his or her or their notes and just say, and remember the fork is in the other hand. And he's like, I know I felt that.

What hand did he use to bring his chair out? When did he start rubbing his eyes? When did he cross his arms? It doesn't have to be perfect, but it has to be close enough. And then I have to not breaking the actor's actoriness. sort of just slide in after the director gives his or her or their notes and just say, and remember the fork is in the other hand. And he's like, I know I felt that.

And I'm like, great, do it that way. And it's a lot of that. And one of the other things that I did is I'm in charge of keeping track of eye lines. And I actually saved, I was lucky enough to save two eye line mistakes. Eye lines are, if you were picturing two people sitting across the table looking at each other, uh, in a film, one of them is going to be looking left to right.

And I'm like, great, do it that way. And it's a lot of that. And one of the other things that I did is I'm in charge of keeping track of eye lines. And I actually saved, I was lucky enough to save two eye line mistakes. Eye lines are, if you were picturing two people sitting across the table looking at each other, uh, in a film, one of them is going to be looking left to right.

One is going to be looking right to left. I know that sounds confusing, but it's just how eye lines work. If they're both looking left to right, then neither of them are talking to each other. Everyone's just staring off. And so I have to take notes about that. And yeah, It's a really fun and terrifying position because every department, every department in a film is fun and terrifying.

One is going to be looking right to left. I know that sounds confusing, but it's just how eye lines work. If they're both looking left to right, then neither of them are talking to each other. Everyone's just staring off. And so I have to take notes about that. And yeah, It's a really fun and terrifying position because every department, every department in a film is fun and terrifying.

But this is the department where people I'm working with sound because they're constantly asking what take. We're on, I'm working with camera because I have to work the slate with the first AC. Actors are asking, the director needs reminding about eyelines. It's a lot of work.

But this is the department where people I'm working with sound because they're constantly asking what take. We're on, I'm working with camera because I have to work the slate with the first AC. Actors are asking, the director needs reminding about eyelines. It's a lot of work.

And my reports, real quick, my reports look like I was the guy, speaking of our trailer for this season, the guy from Seven. Like I just have this box and I have all this incredibly small writing, tiny, tiny, tiny writing.

And my reports, real quick, my reports look like I was the guy, speaking of our trailer for this season, the guy from Seven. Like I just have this box and I have all this incredibly small writing, tiny, tiny, tiny writing.

Well, it's – there is pride also speaking of sins and virtues that in diligence there is pride because you're doing – the script supervisor is doing their job so everyone else can best do theirs.

Well, it's – there is pride also speaking of sins and virtues that in diligence there is pride because you're doing – the script supervisor is doing their job so everyone else can best do theirs.

The director is concentrating on the actor's faces and the emotions they're doing. I'm the one that says – that makes a little note and says you can see his lavalier, his microphone cord. It got loose of his shirt. And so the director's not... And I sold out my script supervisor for 30 nights about the whiskey bottle. Constantly, they were like, you can see this, you can see that.

The director is concentrating on the actor's faces and the emotions they're doing. I'm the one that says – that makes a little note and says you can see his lavalier, his microphone cord. It got loose of his shirt. And so the director's not... And I sold out my script supervisor for 30 nights about the whiskey bottle. Constantly, they were like, you can see this, you can see that.

I mean, they saved my life completely. So I'm even doing like a real poor man's job of it. Like usually script supervisors have all of these codes and the signals that they do down the script. I'm just doing the basic version of it. And it's already...

I mean, they saved my life completely. So I'm even doing like a real poor man's job of it. Like usually script supervisors have all of these codes and the signals that they do down the script. I'm just doing the basic version of it. And it's already...

diligent night where are you i just a question about the job like where are you on set when this is happening because you can't be everywhere how do you see all these things traditionally you would be in what's called video village with the director watching the coverage you're watching on a monitor all of what the film because all you care about is what the camera can see yeah this is low budget enough we don't have a video village so i'm just right there

diligent night where are you i just a question about the job like where are you on set when this is happening because you can't be everywhere how do you see all these things traditionally you would be in what's called video village with the director watching the coverage you're watching on a monitor all of what the film because all you care about is what the camera can see yeah this is low budget enough we don't have a video village so i'm just right there

On the side, I check the frame and then I'm not looking at the frame anymore. I'm just looking at what they do and making notes. So I'm just one of many weirdos slightly rocking back and forth, which is my want, which everyone frees everybody out. Just like really painstakingly looking and trying to find every nuance that I can. Okay.

On the side, I check the frame and then I'm not looking at the frame anymore. I'm just looking at what they do and making notes. So I'm just one of many weirdos slightly rocking back and forth, which is my want, which everyone frees everybody out. Just like really painstakingly looking and trying to find every nuance that I can. Okay.