With more than 300 roles on a film set, there are countless ways to build a career in the motion picture industry, each playing an essential part in bringing stories to life. The Voices from the Field series highlights professionals across departments to showcase the variety of paths into film and the unique contributions they make behind the scenes.
In this Q&A, we spoke with Elizabeth Toward, a script and continuity supervisor whose career has spanned feature films, television series, and more than 35 television movies. Since entering the industry in 2016, Elizabeth has worked on productions including LOVE ME starring Kristen Stewart and Steven Yeun, THE CASKET GIRLS, “Alaska Daily”, “When Calls the Heart”, and “Creepshow”, while also building a parallel career as an intimacy coordinator. Her path into film was anything but conventional, beginning with a chance encounter years before she ultimately made the leap from the nonprofit arts and culture sector into production. Here, Elizabeth shares how she found her way to the role, what she enjoys most about working on set, and why creating an atmosphere of trust, collaboration, and care continues to inspire her work in the industry.
Can you tell us a bit about your background and what inspired you to become a script supervisor?
I had a “midlife crisis” at age 39 and decided to become a script supervisor! Back in 2011, I was living in London, England, doing my Masters research on 1920s animation. I signed up for a Charleston dance class and I met a woman, originally from Vancouver, living in London and working as a script supervisor. A few years later in 2016, when I was considering transitioning out of the nonprofit arts and culture sector, I remembered meeting her, and thought the job might be a good fit for me. Later when I taught at InFocus Film School, I would tell this story to my students, as a reminder that we can never know how someone might impact our life, and how we might impact theirs, so we should always try to be the kind of person that people want actually to spend 60+ hours a week of their life with.
What do you enjoy most about your role, and what keeps you passionate about the film industry?
What I enjoy most about my role is working with this weird and wonderful cast and crew of characters. Every show is different, every team is different, but at heart, we are all creative individuals passionate about film and television. In spite of the organized chaos of production, and the unpredictable changes happening to our industry, what brings me back are the talented, hardworking people with whom I have the privilege of sharing a set and sharing many laughs. I often tell myself that we are not just making entertainment, we are bringing comfort to people at some of the most difficult times of their lives. In my decade in the industry, I have worked on more than 35 TV movies for Hallmark and Lifetime. Three years ago I began volunteering with Burnaby Hospice Society, and I saw how many patients keep Christmas movies on their screens over the holidays, and it reminds of the importance of our work.
Is there a memorable moment from a production that reminded you why you love what you do?
A memory of why I love what I do… I was shooting a feature in Victoria, and I had an actor come to me after blocking, saying that he had a poor night of sleep, and was struggling to remember his lines—he had over four pages of dialogue for the scene! I sat with him as the crew set up, running the lines over and over and over and over. He nailed the first take, and the takes and coverage after that, and he gave me a big thank you hug when the scene was complete. I treasure those days when I can make an actor’s job easier, or the director’s job easier, or the editor’s job easier. For the past two years, I’ve also worked as an intimacy coordinator, and in this role and my role as script supervisor, knowing that I help create an atmosphere of trust and safety for cast and crew means the world to me.
What has working as a script supervisor taught you about filmmaking and collaboration on set?
During the shoot, the script supervisor has a central role, as a hub for many departments to come to you with continuity questions. I always say continuity is a team effort. Continuity can never be 100% perfect, after all, even animated movies have continuity errors, but we are pulling on the same rope together, for the sake of our future audience. A script supervisor is also a key link between production and post production, your notes are the eyes and ears on set for the editorial department. You are a supportive, collaborative presence for the actors, director and producers, and it’s gratifying when a director or producer requests to work with you time and time again.
What advice would you give someone interested in becoming a script supervisor or pursuing a similar behind-the-scenes career in film?
My advice to any aspiring script supervisor would be to take a training course. You are a department of one, in a role with a steep learning curve, requiring strong problem-solving and communication skills. I’m grateful to have been taught by Randi Feldman in Los Angeles – invaluable preparation for such a demanding job. Yes, the shoot days can sometimes be stressful, the scripts can sometimes be of varying quality, and the weather will almost never cooperate, but there is nowhere I would rather be than on set.
Whether supporting actors through complex scenes, tracking the countless details that shape a story, or fostering a safe and collaborative set environment, Elizabeth’s work reflects the care and teamwork at the heart of filmmaking. To explore her work and credits further, visit her website and IMDb profile.
