1.Your path into film began in photography before leading you to script supervision. How did that transition happen, and what initially drew you to the role?
I came to NYC to do my Master in Photography, but after I graduated I realized I didn't want to do photography anymore. I applied at various companies and got a job as an assistant at a Talent Agency called 'The Right Eye' in Manhattan, who represented Cinematographers. Some of the Cinematographers were incredibly kind and brought me on as a Production Assistant on films they were doing and a wonderful Line Producer told me I should look into Script Supervising. And the rest is history.

2. Script supervision is often misunderstood as simply tracking continuity. How would you describe the true scope of the job and its importance to the director, producers, actors, and editors?
I like to say I represent the Director in post and the Editor on set.

3. You recently served as Script Supervisor on Netflix’s *His & Hers*, which became the platform’s No. 1 series. What was that experience like, and what made the production particularly meaningful or memorable for you?
I've had the pleasure of working with William Oldroyd, the creator, writer and director of His & Hers, in the past and it's always been a wonderful experience. I feel very lucky to have the opportunity of working with someone on multiple projects who is a friend and collaborator.

4. Your credits include acclaimed films and television productions such as *The Iron Claw*, *Bodies Bodies Bodies*, *The Bride!*, *A Murder At The End of The World* and *His & Hers*. Which projects have had the greatest impact on your development as a filmmaker?
I think it's one production at a time. At the same time, it's very true that a big job leads to more big jobs.

5. A Script Supervisor must understand not only continuity, but also story, performance, coverage, and the director’s overall vision. Which qualities separate a good Script Supervisor from an exceptional one?
It's all about the balance between saying nothing, trusting that other people know what they're doing and at the same time, getting ahead of problems that might arise and stepping in when it's critical to the finished product.

6. Script Supervisors are often required to identify and solve problems in real time, sometimes before anyone else realizes there is a problem. Can you share an example of a particularly challenging moment on set and how you helped resolve it?
My favorite part is when I can help figuring out what missing shot is needed to complete the scene. When I worked with Bassam Tariq on Your Mother Your Mother Your Mother, there was a big fight sequence and it was a long day and the question was which shot is missing to cover Mahershala Ali's performance, I suggested something and they went for it. Those are my favorite moments, when I feel like I made a small difference.

7. The Script Supervisor is one of the few people who works closely with nearly every department while also serving as a vital link between the set and the editing room. How do you build the trust necessary to take on that responsibility?
When I started out early on, I realized I can never be everywhere and I can never see everything that's going on. But what I can do is make people feel comfortable to come and talk to me and share information with me. Even if they're unpleasant, even if it means they made a mistake. I always like to know everything. I try to always be real and honest with people and talk about things beforehand, to build a link and an open line of communication. Because making a film or a tv show is a team effort always.

8. You have worked alongside accomplished directors, producers, and actors across a wide range of productions. What have those collaborations taught you about leadership and storytelling?
That's a great question. I think mostly it taught me that there's not one way to get to the finish line, but I think the biggest thing is to be respectful and fair to the people you're working with. The crew and the cast always knows when that's not the case, whether they say it or not. In my opinion it's also linked to a better product.

9. Film sets and production methods continue to evolve, both creatively and technologically. What changes have you witnessed during your career, and how has the role of the Script Supervisor evolved with them?
Well, one example is the way script supervisors take notes. I started with pen and paper on short films, then switched to working on my laptop on the first feature film I script supervised and have been working on my laptop ever since. For me it's the most efficient way to work. That being said, there are fantastic script supervisor out there who do not use a laptop, for example, Steve Gehrke, who is Christopher Nolan's go to Script Supervisor, uses paper and pencil and a digital camera to take continuity photos.
Then, we have Q-Take these days now which makes it possible for me to see all cameras on my laptop, without a cable, and it makes me completely independent which is a wonderful piece of technology. But sometimes that doesn't work and when that happens I go back to sitting next to the camera and watch the action live. Which is what script supervisors used to do before all the technology evolved.
So yes I've witnessed changes but it's all about adapting and figuring out what works best, and sometimes that means going back to where we started.

10. Looking across your career so far, is there a particular achievement or moment when you realized how far you had come?
I'm still a small fish in a very big sea! But there was a moment when the paycheck got bigger for the first time, that's when I realized there's a change, and my life got a little better.

11. In addition to your work as a Script Supervisor, you are developing your own projects as a writer and director. How has your experience on major productions shaped the filmmaker you are becoming?
In so many ways - I can't even articulate all of them! Working on sets shaped me as a filmmaker and honestly, it made me a better person.

12. What advice would you give to someone hoping to build a lasting career in script supervision or another behind-the-scenes role in film and television?
I don't know that this is true for everyone, but I don't think that you find film sets, I think they find you. If that's meant to be your life, it will happen.