Why Me?

Jason FoulkeI’ve explained elsewhere why you need a Script/Continuity Supervisor and all about what it is that we do. But why chose me over the many other talented Script Supervisors out there for your project? This page is specifically about me and my style of working.

I’m a New York native coming from many generations of New Yorkers, I’ve been in the film industry in some way or another actively since 2001 and have a lot of experience with vastly different budget levels and types of productions.

I know all the industry standards and have experience with all aspects of production. I know Final Draft and Final Cut (both older versions and newer of both respectively), Avid Mediacomposer, Movie Magic (Scheduling and Screenwriter), Motion, After Effects, Photoshop, Premiere, all to some degree. But I also know how to operate all popular cameras like the Alexa, Blackmagic, and RED and how best to deal with notes for them and their workflows. I spend a lot of my own time studying various cameras and workflows to allow me to step onto your set with the most accurate and up to date information possible. From 8mm to 8K, I know the ins and outs of many formats.

Jason Foulke 1I’m a great personality to have on set. I’m attitude free and come ready to work. I’m so extremely low maintenance you’ll be shocked. Since I have worked in so many aspects of production, I know the reasons for various challenges and delays and will easily roll with the punches. I’ll work long hours and do my best to keep everyone’s morale up, even when mine might not be.

I am there to make sure you end up with the highest quality end product and to that end I will put the effort and work in as if this were my own personal project. I’m usually good for promoting a project when it’s ready to release as well. A good movie for you means a good credit for me, so we’re on the same page.

I am constantly paying attention and working. I don’t do a lot of leaving set, if I’m not actively working during a take, I’ll be on  set watching rehearsals and blocking, gathering as much information as possible, preparing for other scenes, even running lines with actors if they’d like some help memorizing. You’ll never have to worry about finding me and I’m certainly not the type of script supervisor to just sit at video village all day.

I have an acute understanding of the right times and wrong times for continuity. There’s times on a set where you’d much rather focus on getting a specific performance and small continuity things might be inconsequential at that moment. I understand that and will work to try and provide as much continuity to provide an easier time in the edit while getting the right performance. Because lets face it, people aren’t going to your movie for the awesome continuity, in fact they shouldn’t even notice it. Going along with this I know when the right times to approach actors with any sort of notes are, if I even do it myself as sometimes directors like to be sole contact with talent and I accommodate that as well, knowing best how not to overload them.

Sound is super important! In my book you don’t have a really good print take unless you have a good sound take as well. Obviously this is impossible all the time but I do like to work very closely with the sound department and include notes from them regularly, from technical things like what channels different mics are on to simple things like keeping a list of scenes or shots that will probably require ADR later. I’m the same way with the camera department and like to quickly befriend the AC’s and let them know I’m here for them as well.

What it looks like when you show up to location very, very early in the morning.

What it looks like when you show up to location very, very early in the morning. (Photo by Petr Hlinomaz)

We all know our industry can be ridiculously stressful at times for everyone, but directors have it pretty bad. I’m always there for them as a shoulder to lean on and as a sort of extra brain to release some of the stuff they want to remember that I can later remind them of at the appropriate time. I’ve also worked with all experience levels and styles of director from 40 year veterans to up and comers.

We’re all equal. I treat everyone on set with dignity and respect. Those PA’s are working their asses off and I never forget that.

I also have access to a vehicle for those out of the way locations and for traveling around the area and extended area, as well as living pretty centrally located in Williamsburg allowing me to get to sets anywhere in NYC in a reasonable amount of time.

I do love to travel and will often give special considerations (and rates) to out of town productions. Contact me for more information.