It’s week two and things seem to be right on track. ET Canada is
coming to check out the set and interview the cast today. It’s a
little overcast, but that’s to be expected in December in the Pacific
“Pajama boy!” Jeannine Dupuy, Script Supervisor, exclaims, walking
through the living room while the crew sets up for a new scene. “I
just had to come by and give you a hug,” she tells Glenn MacRae,
Just what, exactly, is a Script Supervisor? I sat down with Jeannine
to find out.
“I’m in charge of maintaining the continuity of the script, making
sure that the actors say the correct dialogue, and keeping track of
any changes,” she explains.
Jeannine says she’s having a great time working on Replicas-“I love
working with Josh (Close). He’s a very talented young man. Fabulous
writer. This is one of the best scripts I’ve read in a long time. He
has a strong presence on camera.” She worked with him before on The
Exorcism of Emily Rose, where she was working in the visual effects
department. She’s also worked with Selma Blair previously on The Fog,
also in visual effects.
Jeannine has had an impressive career in film; she’s worked on over 40
films, all across Canada, in the US, Japan and India. She’s worked on
films of all shapes and sizes–from 18 day shoots to 8 month shoots.
She´s gotten quite used to the 12 hour days–“I grew up in the
entertainment industry my whole life, so I don’t know any other life
other than what I’m doing. I have nothing to compare it to. For me
to work 12 hour days, or to be committed to a project long term or
short term, it’s the only life I know.”
I asked her if she prefers her current role to some of the other crew
positions she’s had. “(As script supervisor,) I get to work with
actors, and I love that. I do miss working in visual effects, and I’m
trying to get back into it.”
What are her favorites of the over 40 films on her resume? She says
she has four: Smoking Aces (2009), Trapped Ashes (2006), directed by
five directors; Partition (2007), produced by Kim Roberts and Tina
Pehme (Replicas’ executive producers), and Paycheck (2003), directed
by John Woo and shot with as many as 19 cameras. On Paycheck, Jeannine was Visual Effects Set Coordinator, keeping track of the camera data for the Visual effects department. “With that many cameras, it must have been tough to keep track of everything!” I say. “Yeah, it was a wonderful experience,” she replies, “and it helped prepare me for all the films I have done since.”
“As Script Supervisor, what is your pet peeve?” I ask her.
“Let’s wait till Jeremy (the director) walks out of the room,” she
jokes. Just then, an Assistant Director calls her away to get ready
for the next shot-maybe that question is a road better left unexplored.