We recently connected with Eddie Vigil V and have shared our conversation below.

Eddie, thanks for joining us, excited to have you contributing your stories and insights. Can you talk to us about how you learned to do what you do?

I shaped my Script Supervisor skills through an intensive workshop held by Randi Feldman. She’s known for have instructed a large percentage of Script Supervisors working today. But I feel like the workshop was almost more of a final step in my path of learning to do what I do.

What I’ve really learned is that most people don’t know what I do as a Script Supervisor, like, really really know. Most of the work is invisible, it isn’t turned in, it isn’t talked about in between setups on set, usually.

I like to boil the job down, sometimes, to “I’m here to make sure your film will cut,” but it’s so much more. After which word did they sip their coffee, when did they turn around, and which way did they turn? Aren’t they supposed to be wearing their wedding ring in this scene? Did camera mean to jump over the 180 line? I’ll be on book for lines if an actor forgets and if an actor changes, or adds, a line I’m the one making sure it doesn’t break the story. When was first shot? How many camera setups did we get in today? How many scenes have we completed and which ones do we still owe? I could go on and on.

The skills that are most essential, I believe, are the abilities to observe and listen. Important information is always being talked about on set, but it rarely directly involves the Script Supervisor so stay vigilant. Being aware of when things are shifting and changing is pivotal to managing continuity well.

The craft of the Script Supervisor is a tricky spot to be in when starting out. It makes the job easier if you’ve ben on sets before. I produced many of my short films over several years before I even learned what a Script Supervisor was, but now I feel blessed that I was able to learn bits from lots of other departments before settling into my calling. I knew how to get a crew and cast together, I had taken acting classes, I’d edited my own films, operated cameras, assisted with lighting, and built schedules and call sheets, all before learning how to line a script or manage eye-lines. There’s no way to rush it. Get on set, learn as much as you can in other areas, then sit in as a Script Supervisor as much as you can and keep learning. Always keep learning.

Eddie, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

Born in Albuquerque, New Mexico. Raised in Reno, Nevada. Now living in Los Angeles, California. I’ve always felt energized when getting to be creative. When I was younger my little brother and I played a lot with our stuffed animals. We gave each one their own backstory and quirks. I would try writing stories about their adventures. I chased that joy right into the world of filmmaking having no real idea of what I was getting myself into.

I scraped by in Reno for several years getting onto any set I could whether it paid or not. I was a sponge and desperate to learn about what it took to make movies, short films, commercials, and television. It was hard at first. I remember reaching out cold to anyone I could find who was involved in making any of these things, but no one would give me that chance to even just be on their set and observe. And then one day they did.

A piece of wisdom that has always stuck with me is, “People want to help those who are already helping themselves.” So that’s what I did. I started making short films and putting them on YouTube, knowing full well that I had so much to learn. The more I made the better I got and, probably more importantly, the more confident I got. I was suddenly being recommended to work as a production assistant and found myself on more and more sets. From PA to 2nd AD to a director’s personal assistant to one day filling in for a Script Supervisor who got sick.

I’m here to help make your movie as good as it can be. I know how hard it can be to write something you’re happy with. I know how hard it can be to find good collaborators, or to get funding, or give notes to all people swarming around on set who need your thoughts. I’ve directed, I’ve coordinated, I’ve produced, I’ve edited so when I’m working as a Script Supervisor I come at with all that knowledge. I see the fuller picture. That’s what sets me apart. In crunch time or otherwise I can help clarify options on what is possible with the time we have left, fully understanding the technical aspects like how long it’ll take to setup, to reset, which team members I overheard talking about a great idea, but aren’t bringing it up because it’s not their department.

Solutions are everywhere and I’m wearing the only hat on set that allows for this kind of central hub model of working. Everyone else is worrying very specifically about what their department is focused on, which they should. So, yes, you need a Script Supervisor on your set. Yes, you should include them as much as you can. Yes, I’d love to read your script and consider working with you to bring your project to life.

We’d love to hear your thoughts on NFTs. (Note: this is for education/entertainment purposes only, readers should not construe this as advice

I’d love to keep us on track with talking about me and my Script Supervisor journey here in Los Angeles. But since you asked, really quick, My understanding is they aren’t really a thing right now, but maybe might be one day? Next question, please.

We often hear about learning lessons – but just as important is unlearning lessons. Have you ever had to unlearn a lesson?

“To get hired, become useful.” That’s a lesson I took to heart very early in my filmmaking career. If I wanted to be on a film set I knew I couldn’t do so as dead weight. I got myself experience and then work started coming. Great lesson, right? Case closed. Well, not entirely.

In 2023, I wasn’t feeling like I was growing, that I had sort of plateau’d. After spending more time reflecting, and many conversations about it with my lovely girlfriend Sarah, I realized I had to unlearn what “useful” meant to me. A big part of what was making me feel useful was when I felt liked by my collaborators (the director, DP, 1st AD, cast) rather than if I felt like I was doing a good job managing my tasks as a Script Supervisor or, even more important, if I felt like I was living true to myself and my values as a person.

I still want to be useful, no doubt, it’s just now I’m going about it by putting more intention into how I show up. I’m here to do great work, yes, but it stops being great if I’m doing it without honesty, humility, and respect. I more intentionally work to have clarity in communications, to help create a safe environment, and to show more of who I am rather than who I think I should be.

Learning this lesson didn’t come easy and it’s still one I’m wrestling with. Now I get to feel useful without needing the outside approval. It’s a win/win. I get to feel useful and the teams I collaborate with get someone they can trust to be great at what they do and who is honest with who they are.

Contact Info:

• Website: https://www.eddievigilv.com/
• Instagram: https://www.instagram.com/eddievigilv/
• Youtube: https://www.youtube.com/c/EddieVigilV

Image Credits
Sarah Anarna