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Costume Supervisor job role specification 

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Costume Supervisor job role specification 

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Costume supervisor (also known as wardrobe supervisor) in the unscripted TV industry

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What does a script editor do?

Script editors liaise between the writer of a drama and the TV production company, commissioner or development producer to ensure that the script is as good as possible.

They might come on board at any point in the script writing process. Sometimes script editors start before the writer. The executive or development producer might want a new drama for 18 to 25-year-olds, set in a nightclub, for example. The script editor might be asked to research ideas or come up with concepts for episodes.

Meanwhile the development producer or editorial head, identifies the right writer for the job. Once the writer is in place, the script editor's role is to support the writer and get the script ready for production. They need to understand how the writer works and appreciate the writer's voice. They might help the writer to develop a storyline or introduce a new character. They are the ones that need to have tactful and creative conversations about budget. They might need to explain there isn't enough money for quite that number of buildings to be blown up, for example.

Typically, there will be several people with comments to make on a script, such as the commissioner, the producer or the director. The script editor gathers these notes and takes them to the writer in a respectful and considerate way. They also ensure there's continuity between scenes and between episodes and that the script is running to time.

Script editors might work on high-end TV programmes, continuing drama and comedies. They either work freelance or in-house.

Watch and read

What's a script editor good at?

Knowledge of screenwriting: understand all the features of a great screenplay, know how to improve and amend one

Communication: be able to form a good relationship with a writer and the rest of the production team, know how to explain notes sensitively and tactfully enabling the writer to do their best work

Knowledge of production: appreciate all the factors involved in turning a screenplay into a TV drama, be aware of the practical and logistical considerations in bringing the script to the screen

Knowledge of the industry: have extensive knowledge of and a passion for film or TV drama, be aware of other dramas, what's worked and what's new

Arts knowledge: have a deep and wide knowledge of all genres of art, so as to be able to assess ideas from a range of sources and understand the cultural context

Who does a script editor work with?
Development producer (TV)
Development producers are employed by broadcasters, production companies and screen agencies to look out for new projects and writing talent. See separate profile: development producer
Screenwriter or scriptwriter
Screenwriters write scripts. They might also work improving the scripts of other writers. See separate profile: screenwriter
Storyliner (TV)
Script editors sometimes oversee storyliners who develop story strands for long-running TV series. They may be responsible for a number of different storylines or for a number of episodes. They take ideas from the script editor to create a document outlining what happens in that storyline or episode. This is used to commission writers and becomes their brief to write from.
Script reader
Script readers mainly work for publicly-funded organisations like regional screen agencies. They read screenplays and write reports (coverage reports) on their potential for development. A typical reader's report is 4-8 pages long, including a breakdown of the story and an assessment of its suitability. This typically contains a logline, premise, synopsis, tone and genre analysis, at least two pages of comments on strengths and weakness, and the summary and verdict.
Researcher
Researchers support story and script personnel, ensuring stories and scripts reflect accurate research and the source material and setting, whether from fiction, historical or otherwise, from the beginning. They are sometimes called an assistant script editor.

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Script editor in the film and TV drama industry

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Script editors liaise between the writer of a drama and the TV production company, commissioner or development producer to ensure that the script is as good as possible. They might come on board at any point in the script writing process. Sometimes script editors start before the writer.

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a university course

a college course

an apprenticeship

working towards this role

University

You can do a higher national diploma, degree or postgraduate qualification in:

costume design

fashion

theatre design

costume construction

Entry requirements

You'll usually need:

between 1 and 3 A levels, or equivalent, for a higher national diploma or degree

a degree in a relevant subject for postgraduate study

More Information

College

You could do a college course to get practical skills that you'll need to find a trainee position. Courses include:

fashion and textiles

production arts

art and design

T Level in Craft and Design (Textiles and Fashion option)

Entry requirements

Entry requirements for these courses vary.

More Information

Apprenticeship

To become a costume designer, you could do the:

Costume Performance Technician Level 3 Advanced Apprenticeship

Fashion Studio Assistant Level 3 Advanced Apprenticeship

Bespoke Tailor and Cutter Level 5 Higher Apprenticeship

These can take up to 2 years to complete.

Entry requirements

You'll usually need:

5 GCSEs at grades 9 to 4 (A* to C), or equivalent, including English and maths, for an advanced apprenticeship

4 or 5 GCSEs at grades 9 to 4 (A* to C) and A levels, or equivalent, for a higher or degree apprenticeship

More Information

Work

You could get into costume design by working for a company that provides costumes for stage and screen.

Some of the larger companies offer work experience and internship opportunities.

You might also get a job as a costume assistant, then do more training on the job to move into design work.

Volunteering

Experience in the theatre, film or costume industry is highly valued by employers and volunteering is a great way to improve your skills. It's also a good way to meet people and build up your network of contacts.

You could get relevant experience through:

student theatre and film productions

amateur theatre

working as a costume 'daily' or temporary helper on TV or film sets

casual wardrobe work in theatres

working for a theatrical costume hire company

More Information

Career tips

It's a good idea to build up a portfolio of your work to showcase your creative ideas, design skills and technical ability to potential employers.

Professional and industry bodies

You can join The Society of British Theatre Designers and The Costume Society for professional recognition, training opportunities and to make industry contacts.

Further information

You can find out more about becoming a costume designer from:

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Costume designers are responsible for the overall look of the costumes and accessories in theatre, film and television productions.

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conversation me and max had about the shining scene changes

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A conversation me and max had about changing location for my private Idaho

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Shining script final edit (Job role evidence)

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Shining script final edit (Job role evidence)

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My script edit for the shining scene, a few words removed and replaced as well as a few lines reworked to fit the new setting. Overall the scene didn't need much changing, but a few continuity tweaks needed to be made, mainly I had to get rid of several pieces of directions that specified the bathroom setting, as we are currently filming in a corridor in Fleet street.

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This is the costume that I settled on for Jack Torrance for the shining scene. The jacket was the closest thing I could find to the one that Jack wears in the film everything else has been supplied by Max and we felt it fit the character. I plan on making adjustments eventually to the costume to reflect the slightly insane nature of Jack Torrance in the shining. Nothing to obvious, but subtle changes that reflect the characters mental state, things Like messed up collars and untucked shirts to show the physical deterioration of Jacks sanity along with his own inner mental conflicts.

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A simple but effective design. Delbert Grady was the Caretaker of the overlook hotel in 'The Shining'. During a scene in a ballroom Jack encounters a hallucination of Grady dressed as a butler. I don't own a tuxedo or Butler like attire but I put this outfit together as it was the closest I had. I ended up quite liking it, Delbert is an evil character and the all black color scheme made him come across as quite intimidating, which I felt for the purpose of what we were working with, fit the character quite well.

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The original idea with filming the scene for the shining was to use the bathrooms at the end of the hair and beauty corridor. The spacing was right, it was a good location. But getting in there it posed challenges. The space was small and awkward with the equipment we had, and noise from the outside easily go in. The room was also just warm in general. So we shot some footage before reconsidering what to actually do about the location, we decided on changing the location of filming to fleet street. The location we chose to swap to is a corridor outside of the changing rooms in fleet street, the space still works and we got a few shots here. Moving forward in the project I will need to edit the shining script to fit the new environment, the scene was written with intention of being in a bathroom and we are just filming in some corridor so I will have to change a few of the lines to make it work.

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My costume for Scott in the my own private Idaho scene, the costumes for both characters are relatively close to regular clothes, Scotts a bit more clean and well put together than Mikes. I also chose to give Scott a beanie as in the film they are homeless and I think since Scott has more money he'd be able to get something for more comfort.

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The costume for Mike was a lot simpler and more reflective of his character who is poorer than Scott. Parts of Mikes costume were more messy than Scotts as I feel like he wouldn't care as much about his appearance.

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My own private idaho script draft 1 (film transcript) 

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My own private idaho script draft 1 (film transcript) 

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My own private idaho script draft 1 (film transcript)

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My own private idaho script draft 1 (film transcript)

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My own private idaho script draft 1 (film transcript)

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My own private idaho script draft 1 (film transcript)

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My Own Private Idaho script draft explained.  

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My Own Private Idaho script draft explained.  

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The scene we chose for my own private Idaho is one I'm not actually all familiar with. I've never seen the film myself, but it's a really interesting scene to me. the characterization and personality from both characters that is compressed into this one sequence is very well done. You get a feel for both the characters and their personalities in a sequence that is about 3 minutes long.

As editor I have to make a few changes to the script itself as we are doing the scene indoors as opposed to recreating it outside. So obviously I have to consider changing a few of the directions to fit the change of setting. I've copied out the manuscript for the original scene so I have something to work from and build on. When I've made the final edit I'm going to upload it on the padlet as a means of comparison between the original and my take on it.

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My own private Idaho final script edit (job role evidence)

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My own private Idaho final script edit (job role evidence)

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The edit for the My own private Idaho script, I've not really made many changes here from the original draft, but since we planned on filming in a bedroom then some adjustments needed to be made to better fit the setting.