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I used the previous days set images that the other continuity supervisor took to help set dress the scene to be similar to the original but more strange/ imaginary like. Also worked helped the Lighting Operator to come up with the lights in the cups.

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Monday- we started the cold read and then moved onto semi-blocking the scenes, to get a sense of what the character may be doing within each scene (We also talked about what each production role entails). I filled in for 3 acting roles when it came to the blocking; Wendy, Interviewer 2 and Preacher 2. This is when my love for Wendy sparked. I had read the script the day before and liked how friendly the Interviewer 2, and he was my initial choice, but after playing Wendy, I ended up liking her a lot more.

Wednesday- Auditions where going to be taken on the next Monday so I decided to give Wendy, who was going to change to Wayne if I got the role, some characteristics.

I decided to make him really camp and queer. He 'tuts', when talking, and has a sort of mini inflection ,at the end of each sentence, which I tried to incorporate. The inspiration for this style of talking comes from Trisha Paytas and numerous queer people (particularly 'NeedyHenry' on YouTube).

Another choice was to make him overly friendly to make the twist a lot more shocking. He is the gay best friend, who is also kind of a bitch. I gave him the backstory that he was bullied for being gay in primary school and high school. And after them years he became a bully himself. He believes he has the right to bully because he spent almost all of his childhood being bullied. He will get what he wants no matter what even if he hurts his friends. He will pull the homophobic card if he gets called out.

Friday- I watched 'mean girls the musical' and instantly fell in love with the cast, but one character that I pulled more inspiration from was Damien. Specifically the way he uses his hands. He is constantly moving them and being sassy with them.

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Monday- We did our auditions and I got the role of Wendy, turned into Wayne. I'm really glad I got the role as I had already thought of a bunch of ideas for the character, and because I fell in love with him. He reminds me of Disney villain's, like hades or maleficent and even scar to a degree. They're sassy, manipulative and camp. This will be a challenge to get these animated characteristics into live action film format as the over-the-top voice acting doesn't translate well (Take the live action 'Lion King' for example).

Friday- I began speaking to costume and hair/make-up to discuss what my character would look like. I was thinking something pride or rainbow colors for costume. Something that screams queer. And with make-up, maybe some eyeshadow (I don't know make-up) but I think having these conversation with these departments can help me find my character, as well as help these departments come up with ideas.

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Monday- rehearsal, finalizing the blocking (the best we can since we don't know the location layouts). This particular lesson we went through our scenes with out partners. We discussed the chemistry between them. One moment, for me, that I needed to improve was the line 'you're very welcome'. It doesn't come naturally to me what so ever, and also putting on a much 'gayer' voice, makes it even harder. So throughout this week I have been recording myself saying the line and listening back to what works.

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Damian Hubbard, played by Jaquel Spivey 

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ive been playing league since season 4 my mains are soraka, seraphine and lux (but i play many) my peak rank is grandmasters 476 LP i’m a huge ariana stan and kpop stan (specifically girl groups)

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I am still struggling with the 'very' so I may ask to cut it to just 'you're welcome' as that comes more naturally to me.

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I was ill for the Monday lesson, but I asked the producer on what I missed. I also did some research about my roles: Continuity Supervisor and Performer

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His full name is Wayne Dave Lispen. His birthday is 24/07/1999. His mother is Louise Lispen, His father is Declan Lispen and his older Sister is Nicole Lispen. He went to Kingsmead high school and sixth-form. His education includes 10 GSCE's. He got; 7-Biology, 7-Chemistry, 6- Physics, 6-Maths, 8-English Language and Literature, 4- History, N/A-RE, 8-Art, 6-Drama, 6 -PE. He is not religious and even hates when religious people force their beliefs onto people. Also hates when they are against the LGBTQIA+ community and when they use the bible as an excuse to be bigotry. He failed RE (dropped/kicked out) for being disruptive in every lesson by being very opinionated on the subject. He has hobbies include painting (sort of for money but also to develop skills), Swimming/working out, playing cards and board games. Has recently engaged in gardening so he can paint pictures of his own garden work. For employment, he is a retail worker at Home Bargains (started during 1st year of college). To conclude, he is a middle class citizen.

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During school he was bullied for being queer. Before he even knew he was gay, he was ebing bullied for just looking like it. He didn't really even know what it meant. He got called many names during primary school and high school. He hung around girls during primary school as they didn't treat him bad and he would get called a wuss for it. He didn't have many male friends. I'm every social interaction he never felt like he fit in. Girls would talk about boys and 'girl drama' but he would never relate. Until one day, in high school (year 8) he decided to do some research about being gay and began his own self discovery journey. He kept this quite for years and never told anyone as he knee people would judge. Until one day in year 11 he had the guts to start telling his close female friends. He noticed that they didn't judge and accepted him for who he is so he began, slowly coming out to more people. By the end of high school, his whole year group knew and teachers. He was vary wary of telling his parents as his dad's family side are very religious. And he does not get along with them. He knew his mom would accept him but he knew she would tell dad and he did not want that. But one day, he got his first boyfriend, Callum Done, during college. It was a great relationship but he eventually got forced to come out to his parents by this guy. Which he did not want to do. But callum went behind his back and told his family which ended the relationship.

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He went to Kingsmead six-form, studying art. He does a whole range of different art, like water color and diamond art. He isn't keen on modern art but understands its important in today's society. It understands the reasons behind its idiocy but respects that its still an art form, even if he doesn't partake in it. He sells his art online, on multiple sites like Etsy, eBay, and Tik Tok shop. He earns more doing his art than his retail job at Home bargain.

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They both started to become friends when they became roomates in 2023 and immidialty became best friends. They love each other so much and have frequent movie nights in each other rooms. Typically watching horror films or teen drama shows like 'Sex Education' or 'Glee'.

The reason why Wayne has backstabbed and purposely embarrassed Sally is because Sally cancelled plans with Wayne last minute as she was 'ill' but Wayne later found out she lied and was hanging out with someone else instead.

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I took multiple pictures of the set so that the set looked the same for each take, and because no props where being used, I didn't need to keep track of where props started and ended. I did need to keep track of how actors moved and to line up with previous takes, but since the movement was a sort of choreographed, the actors would have to follow strict movements and the director and the actor themselves would know if they did it wrong.

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Most of the props stayed the exact same throughout takes, like the laptop but the book would fall down. Between takes or as the director was setting up for the next shot, I would quickly reset the position so it was in the exact same position (there was a slight mark on the table that I used). We could of used something to put inside the book so it didn't fall as much but I didn't think of that by the first take so I didn't want to maul with it. Also on our break Ana wanted to put her head down on the table for 5 mins which would move 2 props, but she asked me first so I knew about it. and it wouldn't be hard to put them back in the same position.

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Wayne regularly takes part in LGBT rights, by donating and supporting foundations like the 'LGBT Foundation'. He always confronts people who are ignorant and just straight up wrong about the LGBT community. He once had a massive debate with his work collogues and managers about a potential new hire who may of been refused the job just because they identified as non-binary. He confronted the bosses of how awful and problematic that was and made them change their mind and they hired them instead. (He was the only one who stood up for them). He regularly keeps up with political debates and updates his friends and family with the correct party to vote for. The one that doesn't go against the LGBT.

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LGBT Foundation – A national charity with LGBTQ+ health and wellbeing at the heart of everything we do.

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A national charity with LGBTQ+ health and wellbeing at the heart of everything we do.

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I used this video to learn about what a continuity supervisor does.

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What Happens When A Movie Has No Script Supervisor? | Reverse Film School | Vanity Fair

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Most of the time the director would cheat the eyeline so it looked better on camera but would still look as if they where looking where they should be but there was one moment where Lily was looking straight across the table but needed to look a bit up so the eyeline continuity was correct. I warned her of this before the take.

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Making sure that props stay in the same location and are the same prop. Not swapped out by something accidentally. Like a mug changing its design. Also things like fullness of a mug. The should be the same throughout the scene, unless the actor choses to drink some. And we reset back, we must ensure the mug is refilled to the same level.

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Making sure if multiple clocks are in 1 room they are set to the same time. And that the time doesn't randomly change between shots. Also that the time is wrong, for example, it being dark outside but showing 1pm.

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Making sure that the eyeline is consistent between shots. Not switching directions/location randomly.

'Eyeline match in film continuity can be used to create the appearance of multiple characters interacting with one another. As long as it is made clear who each character is looking at specifically.' and if this is filmed badly or wrong it can make the viewer uncertain what the character is looking at/who.

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What is the Eyeline Match in Film & How is it Achieved?

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Mastering the eyeline match in film is something that many film editors will attempt because it provides them the opportunity not only to create continuity in response to a character’s gaze and helps the audience to see what the character sees.

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Making shoots easier to manage/supervise by replacing props , with something that achieve the same goal, but allow for easier management of continuity. Like replacing a clear coffee cup with a mug so you don't need to constantly check the level of the drink as the sides won't be visible.

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Dialogue making sense. Like if someone says 'This brown envelope' when the envelope is actually black. Or like from the video, 'This morning' being said when its actually the afternoon.

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Actors having objects in the right hand between each shot. for example, the actor grabbing a mug with their right hand in a wide shot. But cut to a close up of the mug, the mug being randomly held in the left. Having the actors use the props the exact same way between shots and takes help with consistency and its my job to ensure they do.

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Making sure the director and camera operator don't break this rule unknowingly.

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Making note of the actors blocking decisions and making sure they are consistent between takes and for each shot.

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Also this

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[dramatic music]

Please, I just wanna fix this

and move on with my life, Donatello.

I've run this firm for 23 years now

and my credibility is on the line here.

So Greg, I need you to be perfectly frank with me.

Have you ever set foot in Joann's Fabrics?

I...

I mean, me, personally, not really.

I mean...

For me, that would be no.

What does that mean, Greg?

Did you send someone else into Joann's Fabrics?

My ex-wife used to work there.

Pause.

So did you catch all the errors so far?

I did, that's why it's my job to fix them.

My name is Martha and I'm a script supervisor.

This scene is full of continuity errors

and shows what might happen if someone like me

isn't on set.

Let's go in and fix the mistakes,

so you can see the kind of things I need to look out for.

Okay, rewind.

One of the most basic things I need to focus on

is the placement of props.

The props here are this folder, that clock on the shelf,

both of their smoothies, and this dragon thing.

Let's keep an eye on these.

Please, I just wanna fix this

and move on with my life, Donatello.

I've run this firm for 23 years now

and my credibility is on the line here.

So Greg--

[Martha] Okay, so the props have all changed around.

A good script supervisor would catch these changes

and make sure things like this

don't end up in the final cut.

Let's fix all these.

Rewind.

So Greg, I need you to be perfectly frank with me.

Have you ever set foot in Joann's Fabrics?

I...

[Martha] So this part looks good, but wait for it.

Not really, I mean...

[Martha] It's a good idea to have any devices

that tell time match each other.

This clock says 4.46 and this one says 3.42.

We'll need to fix that.

[Greg] For me, that would be no.

What does that mean, Greg?

You had someone else go in Joann's Fabrics for you?

[Martha] All right, now, if you remember,

we watched Greg stand up.

I...

I mean, me, personally--

[Martha] So if Greg is standing up,

who or what is the lawyer looking at here?

Somebody help him up.

If a character's eyeline continuity is off,

it can be really jarring.

What does that mean, Greg?

It means not only does it confuse the audience,

it can throw off the emotion an actor is trying to convey.

Did you have someone else go into Joann's Fabrics for you?

Well, kind of.

My ex-wife used to work there.

[Martha] Hold up.

Looks like some of the problems we already fixed are back.

Ideally, things that could be recurring issues

would be avoided from the start of shooting.

For example, it would've been easier

if both these guys had coffee mugs,

so we couldn't see the changing liquid levels

like we can with the clear smoothie cups.

Wardrobe continuity is another thing we must look out for.

Greg's sunglasses have been switching from his head

to his shirt throughout the entire scene.

And his shirt keeps being buttoned and unbuttoned.

These errors can occur if an actor varies their performance

between takes, or maybe if filming takes place

over multiple days.

Also, the lawyer's tie has switched a few times.

Let's keep that consistent.

Well, kinda, my ex-wife used to work there.

Okay, Greg, well, that would've been useful information

to have last week then.

And I used to go in there quite a lot

before I changed my name from Sammy Stonesetter.

Why am I only finding out this morning

that you used to go by the name of Sammy Stonesetter?

[Martha] Script supervisors also have to

pay attention to dialogue.

The lawyer just said...

This morning.

[Martha] But we've already established it's 4.46.

It's light outside, so it can't be 4.46 a.m.

What he should say is...

Why am I only finding out this afternoon

that you used to go by the name of Sammy Stonesetter?

[Martha] Much better.

Now, watch which hand he grabs the folder with.

I didn't think it pertinent information.

[Martha] In the first shot,

he picked it up with his left hand.

And in the next, he has it in his right.

Let's try again.

I didn't think it was pertinent information.

[Martha] That's better.

It's important to note not just where the props are,

but how actors interact with them

and keeping that consistent between takes and setups.

[Greg] And besides, I was trying to cover up my tracks.

All right, Sammy, Greg, whatever your name is.

You're gonna come clean with me

or I'm not so sure I'm gonna be able to represent you.

All right.

I might've brought my rottweiler into Joann's Fabrics

and she might have destroyed 17 rolls of fabric,

but I did not set that place on fire.

[Martha] Stop.

This shot here has just broken the 180 degree rule.

Imagine an invisible line running between two characters.

We always want to keep the camera on one side of that line

to maintain spatial consistency.

Notice the camera has always been shooting

from Greg's left side.

Because of this, Greg is always seen

on the right side of our screen and the lawyer on the left.

Here, suddenly, we have shifted to Greg's right side,

which makes it appear as if the actors

have swapped sides of the screen.

Let's fix this now.

Perfect.

Also, we already saw that Greg's mugshot

was the top page in the folder when the lawyer held it.

So let's fix that too.

This transition should feel much better now.

But I did not set that place on fire.

[Martha] There, that feels good.

That's not me, that's Sammy.

[Martha] Okay, here it appears as if the lawyer

has just teleported a short distance.

We established that he is right in front of the window.

But now, he's suddenly on the side of the desk

and there were no shot justifying this shift.

This is what we call a blocking error.

Let's get him back where he belongs.

There we go.

In case an actor's performance varies between takes,

it's important to take note of their key blocking positions

and try to match them in all shots.

Look, I am going to count to 70

and if you're not out of my office by then,

I'll have you escorted out.

One.

Two. All right, I'm leaving.

But this isn't the end.

[Martha] No, it's not.

We talked about blocking for position,

but now, we have a blocking for movement error.

Rewind that last shot.

Greg rises from his chair and turns to his right

in this shot.

[Martha] All right, I'm leaving. See?

But when we cut to the wider shot, he's turning to his left.

A script supervisor must track every move an actor makes

to make sure they stay consistent between takes

and shot setups.

One last fix. All right, I'm leaving.

But this isn't the end

because the truth always rises to the top.

I hope it does, Sammy.

I hope that it does.

So I hope that gave you a pretty good idea

of the things script supervisors have to look out for.

And if you really wanna put your skills to the test,

we purposely left a few other mistakes in the scene

for you to catch on your own.

Let us know what you can find.

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What Happens When A Movie Has No Script Supervisor?

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Martin Scorsese's long-time script supervisor Martha Pinson shows how to create continuity in movies.

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Since I decided to have my character enjoy making diamond art, I decided to do one myself to help me understand my character more. I learned that art is very time consuming and requires commitment as it can take weeks to do 1 artwork.

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Wayne (and Sally) have a huge range of taste when it comes to music. Collecting cds and vinyls has sort of become an obsession. Their house is full of different genres such a country, pop, rock, indie etc. Whenever they walk past a store that sell vinyls, like HMV or even a pop up stall. They have to take a look at whats there. Some of the vinyls range from Spice Girls and Adele, all the way to Scum fuck Flower boy. They even Weekly rotate vinyls on show depending on what they are feeling that week, from emotions or just what they fancy listening to. Their home is styled with a lot of decorations like cool lights and unique mirrors. There are a ton of real plants, they are known as 'plant girlie's'. They love the vibe the plants bring to the home and the colour green really splashes and pops against the brick walls. They designed this house together and both their personalities shine through the style of the home.

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We filmed the house scenes today. My role for this day was actor. It was my time to shine. I was stressed at the start, leading up to filming but as soon as I stepped in the house, the anxiety and stress vanished.  Filming in the house did allow my acting to be more elaberate sa I had a set the interact with. I felt like the relationship between Wayne and sally was strong and we could see that they had a stong bond. Even if Wayne was backstabbing her. From this day, I learned about adapting my performance for a set. As blocking can't really be set in place until cameras and actors are on set. You can know movements generally but not precise blocking. Another thing I learned about is cheating the camera. Even thought the set may be slightly different, it still may look the same on camera. For example, we moved the couch to help with focusing on both actors on a certain angle, using a half lens. The shot camera  didn't work due to the distance between the actors, but we did try. Another thing we cheated was scene 1, the positions around the table would be slightly cheated to favour the camera.

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The one scene I enjoyed filming the most was scene 4, with me on the couch. 1. I think it my acting was great and was on point, as it felt really natural. 2. I practically did them all in 1 take, and 3. I got to lay comfortably on a couch and eat popcorn.

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I did end up having to take a tripod home the last shoot day as I was in the house shoot but some crew wasn't.

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We ended up wrapping early as all crew and actors where on point. We even added a zoom shot at the end with different variants.

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I was acting once again on this day. For the scenes themselves they where great. I loved the chemistry between the characters. They felt natural but also weirdly cute together. But also not likable which was the goal. I do think in this scene, my acting went better the more we did it, naturally of course, but things like the interaction and hugging for example became better each take. One thing I learned this day was about having my face favour the camera. When I turn and say 'and mine'. The director, Kieng, gave me a note to turn more towards the camera. As I do but they wanted to see more of my face, which I then adapted into a little cutesy interaction with Jeff where I nudge him.

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Even though I wasn't on continuity, I still learned a bit about the role. For example, outside shoots can be tricky to keep continuity, especially in a public place. You've gotta keep an eye out for people walking past or being in the background of the shot. But the one thing I didn't already consider was clouds and the sky. Its one thing that can easily be noted as a continuity error if the sky randomly changed from being cloudy to blue sky. Another thing from the sky that causes continuity errors is the light the sun shines. If the lighting is randomly bright on the actors in one shot but not a bright in the next then it can really take the viewer out of the moment and look quite bad.

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As an actor it is always keen to make sure you are doing the exact same each take so that the continuity is great. And I did find myself using different hands for each take. Sometimes I'd used my left hand for the 'destiny' line but would occasionally use my right. But I did have good continuity and consistency with the mug. I would take a sip at the same time each time. And would try to hold it with 2 fingers in the mug handle in my right hand.

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This shoot we only filmed the bridge scene as an actor was ill, which allowed us to take our time with takes and to make sure everything was great for the final edit. But I still fully tried for each take.

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'Beats are a change in subject between the characters.'

Separating the scenes into different sections to help the flow of scene and to keep it dynamic, to help keep the audience entertained. There's nothing worse than having a scene bland with no emotional rollercoaster. Here is an example of a scene I united.

'Learn the character’s thoughts and not just the lines.'

You don't memorize your lines, you learn your lines.

Stone, P. A. (2021). Acting for the camera : back to one. Routledge

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'Acting is responding to stimuli in imagined circumstances in an imaginative dynamic manner that is stylistically truthful to the character and his environment so as to communicate ideas and emotions to an audience'

Barr, T., 1997. Acting for the Camera [1986]. New York.

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I felt like I applied this quote well throughout the whole production, but I found myself particularly doing it during the House scenes with Lily. I felt like I was in being dynamic, particularly with my voice, that was truthful to the character and my environment. And that I did communicate my ideas and emotions pretty well, specifically with the being two faced towards Sally.

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I used Philip woods 7 steps to prepare for filming.

1. Read the scene.

2. Give the scene a title, based on the heart of the scene.

3. Locate the low and high points of the scene (rollercoaster).

4. Offline reaction (not speaking).

5. Online reactions (speaking).

6. Actions.

7. What are you doing before and after the scene.
(Sub text as a extra step, still important)

See the scripts below for examples.

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Radiation- The energy between actors and character.

Mine and Lily's chemistry was strong throughout, from first rehearsal to shooting the scenes. I felt we both, as actors understood our roles and where able to play off of each other. We lived in the moment of the scene and didn't just do what we planned to do. For example, Lily's line where she's talking about changing her CV. I started speaking a bit too soon before she had finished her line, but we both used that to bounce and enhance our performance of off each other.

Additionally, I think the energy that my character exerted was a toxic and a person who's two faced. Which is what I was meaning to do. Cast and Crew would tell me that I 'play mean a bit too well'. As I delivered the Line 'And mine' I felt the energy of being 2 faced. I also felt it in other scenes like scene 4. I play my line off as a friendly 'No thanks' But with the different context of knowing I'm back stabbing her, it has a new energy of being two faced.

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Silent etude- Small details being noticed like a stutter or a eyebrow raise. I think I did well at doing small details. Such as, a slight stuttering when trying to defend myself when explaining why I help change Sally's cv, or when I'm on the couch, I slightly raise my eyebrow to allude to the fact I'm two faced.

Stanislavski, C. and Hapgood, E.R., 2012. Creating a role. Routledge.

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STANISLAVSKI- The role of the imagination

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STANISLAVSKI- The role of the imagination

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Tempo rhythm- My speed of speech and actions during the shooting was fast, a common note I would receive is to slow it down but my tempo however was pretty good. It was never one tempo, I would speed up during scenes that Wayne wanted to get out of but slow down with moments he wanted to last longer, like the bridge scene. He slowed down on the line 'what exactly happened' as he cares about what happened. The audience thinks he cares about what happened to her, but he just cares about how embarrassed she got. A common trick manipulator does, which I found Wayne to be.

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MEL CHURCHERS (A SCREEN ACTING WORKSHOP)

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MEL CHURCHERS (A SCREEN ACTING WORKSHOP)

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My character has got to have a view on the world, so that I know how they fit into the world. Different views and angles on life, with Values and beliefs. 'Never be neutral, always have an opinion'

Churcher, M. (2011) A screen acting workshop. London, Nick Hern.

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Who am I? - Wayne Dave Lispen

Wearing? - Always wears some sort of pride, feminist or LGBTQIA+ clothing. Like his barbie top or 'HE' 'HIM' shoe lace tags.

Circumstances? - Wanting to get revenge on my best friend for lying about being ill.

Surroundings? - House/park/bridge.

Relationship to surroundings? - House - Built a friendship in the house that the trust had been broken in. Park- Loves going to the park as he loves animals rooming free. Dogs playing, birds flying and tweeting.

My objective? My obstacle? and what do I do to get what I want? (See script for example)

Hagen, U. (2009) Respect for acting [electronic resource] . 2nd ed. Hoboken, N.J. :, John Wiley & Sons.

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'React before you speak'

'Listen'

'Interaction with props'

Tucker, P. (2014) Secrets of screen acting. 3rd edition. Abingdon, Oxon, Routlege.

I felt like I did all of these throughout shooting, but to be specific, I did it really great during the bridge scene with Ben. I really felt like I was listening to him and reacting before I spoke. I would laugh when he said something funny and not just randomly. And when he started to serious talk, about the job, I would change my facial expression and look down before I spoke. I also felt like I interacted with the environment well here as well. As I walked over to him and I would look out to the park and smile and look at a dog running. Also would interact with the sun well, sort of unwillingly but if the sun shined in my face I would squint as that's naturally what people do.

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Used for day 4 and 5 of shooting (forgot to get picture on day 4)

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One of the activities that Mel Churcher covers in her 'Screen Acting Workshop' that I used was to 'get a friend to film you talking about a real experience about which you have clear memories and pictures of what happened'. I found it to make me speech a lot more natural. Someone mentioned to me early this year that, when I'm acting, some of the words I say sound weird with my accent. For example, I don't say 'you' and 'don't' like most people but when I'm acting I pronounce them strangely. One minute I'm talking in my normal accent but then for some words I go RP. But I found this activity to help me not do that.

Churcher, M. (2011) A screen acting workshop. London, Nick Hern.

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My main role on this day was continuity but I performed towards the end of the shooting schedule.

This day I got sunburnt for being in the sun, this was an oversite on my behalf as I forgot I would be out in the sun all day and needed to put on sun screen.

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Pictures of the set used for the preacher scene. before every take I would look over just to make sure nothing had moved. We taped them down to the cloth, and the cloth to the table, so they wouldn't blow in the wind. Which would make resetting, and the whole of continuity a nightmare.

'Preventing occurring issues'

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Since I was sunburnt when it came to doing more bridge scene shots, my neck and a close-up of my face couldn't be filmed. Luckily we didn't have any of these to pick-up. It was only far away shots or behind/over my shoulder.

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I took pictures of the characters costume to make sure they styled their clothing the same. For the preachers it wasn't as much as a worry as they where only filming for 1 scene, but for Lily she was going to be filming for 10hrs so I needed to make sure the costume was consistent through out the day (Also since it was filmed in order)

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As it was freezing outside, when filming the preacher scene, I would be to the side waiting with Paige's coat, for them to shout cut and I would give Paige her coat so she wouldn't be freezing as they where resetting. A job of continuity is to make sure the actors stay in the right emotion through the whole shooting, and if in one take Paige is shivering and isn't in another, it would look a bit awkward.

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Filming this scene again ,but also from away, was awkward but also fun. For example, trying to remember what you exactly did the previous day was tricky but I believe I did a good job at it. But one thing that made it awkward was the being radioed in to walk into frame. Like sometimes it felt like I was waiting forever. And there was no warning, it was just go, which ,a few times, caught me off guard. A thing that made it fun, was when I got to Ben, we didn't have to say our lines we just had to talk and had to move the same way. I believe in one take, we just talked about all the midgets that where surrounding us. There were millions of them. That is another thing that made it awkward. As I was walking over, I would walk into them but not react to them or when speaking I would accidentally get 1 in my mouth but I couldn't spit it out. We couldn't waft them away, we just had to put up with them until they said cut.