"Sure,Daniela... that's easy for you to say. You've been doing the job for 35 years"

Yes, and when I entered the industry in 1991, I had zero connections, and I started at a time when when film crew jobs were much more scarce in general, as there were fewer TV channels and no streamers, and we were in a global recession until the middle of that decade.

It took me a while to discover that the role of Script Supervisor actually existed, and then to realize that I wanted to be one, because this was not a role they taught us about in film school.

People clung tightly to that inner circle with the director and it felt like unless you were related to someone important, filmmaking was a very closed shop.

I had a bigger hurdle to climb than many others at that point because I was painfully shy and was socialized in an immigrant family that did not value the arts as a realistic profession to pursue.

In fact, I was entering the industry with a five-figure student loan debt from film school because no one in my family could (or even would) pay for my film school tuition, which they saw as frivolous.

That's why I began training script supervisors in 1995. When I finally stepped onto a union film set as a script supervisor in 1993 and experienced what it was like to be one of the only women on set, and to see almost no other kind of diversity among the crew, I made it my mission to create comprehensive, accessibly-priced training for our role. And as I ascended in my own career, I put that knowledge right back into the course.

Even today, my comprehensive training program, which has been proven hundreds of times over to help people enter into the industry or rise within it, costs the equivalent of about 2 days of pay for a script supervisor on a union film set in North America, or 4 to 5 days of non-union work.

While that may feel like a sacrifice in the short-term, in the long term, it has literally helped shave 2 to 8 years of trial and error and struggling at lower pay for my alumni. It took me eight years before I landed on the film that changed the course of my career (My Big Fat Greek Wedding) and I have seen personally how I have been able to help my alumni go exponentially faster.

Because they didn't have to make nearly as many mistakes or suffer through bad on-set experiences and didn't even have to figure out how to negotiate or what to ask for... they came into their careers this way with this training as their secret weapon.

People like Jaynee in London, who worked steadily on short films and found herself on her first paid feature in Greece less than two years after completing my program.

Or like Sally in Alabama, who landed her first paid feature the day she graduated, and was able to negotiate for more prep time.

Or like Dana in Los Angeles, who came to me after graduating film school and began working professionally as a script supervisor immediately upon graduating and has worked steadily ever since.

Or several of my Toronto alumni, whose hard work in the non-union world paid off with full union membership including on some A-list features and series, in some cases less than four years after completing the program. Some have since worked on Oscar and Emmy winning projects.

Or like Dora in Budapest, who was already script supervising when she met me, but who now gets her pick of Tier A features, including with directors that I work with.

Or like Marianne in Chicago, who landed her first full series as a union script supervisor two years after graduating.

Or like Ada in London who was a runner when she started my program, worked her way up through the most prestigious Assistant gigs in the UK for the three years that followed until her first full feature as a script supervisor got 5 BAFTA Nominations.

Or like Lauren in London, who merely wanted a way to support her writing and directing career and was able to work steadily as a scirpt supervisor to achieve that goal upon graduating.

Or like Giorgos in Athens, who impressed his crew so much they promoted him after his first gig and he's on track for a directing career.

Or like Sarah in Atlanta, who wanted a way to augment her acting income and soon became an in-demand script supervisor who ultimately began directing multiple vertical features within three years of graduating the program.

There are literally hundreds of stories like this - some of them are in the videos below. These are only some of the most recent.

Will you be the next script supervisor I can brag about?