Not the sidelines.
Not the honeywagons.
Not the office, miles away.
The inner circle is where creativity happens.
Where trust lives.
Where directors turn when the day goes sideways and the scene still has to work.
Most people will tell you to start at the bottom:
"Be a P.A." ," Wait your turn.", "Be a note-taker.", "Smile and look pretty".
But if faking it until you make it appeals to you, don't read any further. I am not the teacher for you.
That all-too-common advice is terrible advice, because it stalls out your film career and makes you forget why you were drawn to this industry in the first place.
In this job, "Fake It 'till you Make It" is a good way to kill your career before you even get started. Mistakes cost time, money and frustration. You're directly working with the key creatives on a set and there is nowhere to hide.
And yet, it's nearly impossible to get on-set training - even the rare Assistant Script Supervisor placements require pre-training.
So, how do you break in?
Train from home with an industry leader and start confidently as a Department Head
The Director Whisperer Training Program was created to train Script Supervisors to be ready to work inside the director’s circle of trust from the start, or to help those in the first decade of their career course-correct towards the A-list.
It's not about status.
It’s about having the confidence to support the creative core of a film set: the director and the actors.. and to represent the editor like the champion they need you to be.
And to do so with calm authority under pressure.
When you understand how directors think, communicate, make decisions, and what they need from you, something shifts:
And directors feel it. Producers, too.
They loop you in.
They rely on you.
They bring you back.
Then, you can actually smile, because you'll start to experience more joy in the role. Oh, you'll work hard - every crew member does. But you will know your worth, because you'll start to feel valued. You might even become the human on set that everyone looks forward to working with. And you'll make a much better living while doing so.
And here’s the part many people forget:
Filmmaking is a global profession.
And when you become indispensable to a director or producer as a core member of their team, you will travel with them.
This program shows you to think bigger: about your role, your contribution, your skill level, and the kind of career you can build.
This is where training begets confidence, and confidence becomes authority.
And where authority turns into a sustainable career.
"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 was entering the industry at a time when when film crew jobs were much more scarce in general, as 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 where women were taught to be quiet and not have their own dreams.
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 less than 1.5 days of pay for a script supervisor on a union film set in North America.
Daniela has been script supervising for 35 years internationally, in ten countries, with A-list directors (Paul Feig, Mimi Leder, Bruce Beresford, Greg Daniels, Davis Guggenheim, David F. Sandberg) and has also supported many first-time directors through their earliest projects.
She has worked on commercial hits like Shazam!, My Big Fat Greek Wedding, A Simple Favor, Another Simple Favor, xXx: The Return of Xander Cage and cult darlings like The Boondock Saints, as well as hundreds of hours of TV series (Suits, Covert Affairs, Soul Food: The Series, People of Earth). She has taught nearly 1,000 script supervisors in 33 countries.
HOW TO INTERVIEW YOUR DIRECTOR AND LAND THE GIG
AXIS SCHMAXIS
SCRIPT SUPERVISOR RESUME WORKSHOP
SCRIPT TIMING SECRETS
SCRIPT SUPERVISING THE ACTION BLOCKBUSTER
WHEN THE SHOOTING STOPS: WHAT SCRIPT SUPERVISORS DO ON THEIR WRAP DAY(S)
SCRIPT SUPERVISING COMEDY FILM & TV
A BIG ROLE FOR THE SMALL SCREEN: SCRIPT SUPERVISING TV SERIES
FINAL DRAFT FOR SCRIPT SUPERVISORS
WRITING BETTER SHOT DESCRIPTIONS
CAREER STRATEGY BUNDLE
DAILY PROGRESS REPORT MASTERY
THE FINE ART OF ACTOR WHISPERING
WORKFLOW MOJO
THE FILM WORK PLAYBOOK: A JOB SEARCH STRATEGY & SURVIVAL GUIDE
If you decide for any reason that this is not the program for you, e-mail Daniela within 15 days of purchase for a full refund. No questions asked.