This site is the home for a collection of photographs, published articles, information and references celebrating the history and craft of the Script/Continuity Supervisor.

Alma Reville working as 'continuity' on The 39 Steps 1935  


It's relatively easy to understand how most technical roles began and developed into what they are today, but what about the Script Supervisor?  The evolution of this complex role, with its various titles, is not quite so easy to explain. Intriguingly, we've found that the role was in fact created out of a specific need. Films quickly began to be made with multiple shots covering the same sequence, and therefore someone had to carefully record information for matching purposes - the script clerk. This was the first title given to what we now know today as the script/continuity supervisor.

Please visit Origins to find out how our story begins.
We've also discovered that even in the 1920's audiences had already begun spotting 'errors'. The example above was published in Photoplay magazine in 1920. More examples on the Origins page. 

Polite note to contemporary 'continuity error' anoraks - please do not write in!


Further research into the 'origins of the Script Supervisor' have proved interesting.   In the book "The Classical Hollywood Cinema" Janet Staigler writes that "a script girl began to be a regularly assigned position in the late teens (probably sometime around 1915-1920).  Violations of screen direction had been occurring as there was no established method for avoiding them, hence the formation of the position of Script Girl.  In those early days, the job was often carried out by the 'cutter', who also acted as 'Script Clerk' on the set.  This was known as keeping script".

"Sometime during this period Margaret Booth - who became one of the great motion-picture editors - left school and began work at the DW Griffith Company as a patcher (film joiner).  She moved from DWG to Paramount and then to Louis B. Mayer.  Here she learned to edit from Director, John M. Stahl.  In those days, as she says, 'one did everything' and she sometimes went on location with him as script girl."

Another cutter, Nan Heron, helped Dorothy Arzner to become an editor, by guiding her early cutting attempts and recommending her to 'keep script' and cut the 'next Donald Crisp picture'.  She is credited as an editor on his 1919 & 1920's films."

Hence our job was and is often referred to as 'editor on the floor'.

Margaret Booth

Dorothy Arzner



Melanie Bell, a Senior Lecturer in Film School of English Literature, Language and Linguistics, Newcastle University, recently contacted this website with the information that she and a colleague, Melanie Williams (based at the University of East Anglia) have been working on a special edition about 'Women Working in British Film & Television' for The Journal of British Cinema & Television.  Melanie Williams has written the article 'THE CONTINUITY GIRL - ICE IN THE MIDDLE OF FIRE' and here is the link to the article.  It is item number 603.

A website was launched by them in April 2012, entitled Women's Film & Television History Network UK/Ireland.  We have been informed that they are creating a 'Resources' section, which will include materials and weblinks for those interested in researching and learning more about women's work in film and television production (from any period and in any role).  Here is the link to this site:

---------------------------------------------------------------------------------------------------------------------- has been researched and built by Diana Dill and Jane Jackson. We are both working Script Supervisors and you can check out our credits (IMDB) by clicking our names.

Wherever possible we have contacted the original publishers of articles and photographs reproduced here on this site for permissions. It has never been our intention to use material without first seeking permission. We would like to hear from you if you feel that appropriate notices are not properly identified. Please also contact us with details of any errors, omissions or useful suggestions. We also request that any material contained in this site is not copied or used for anything other than for personal reasons. last updated May 2013