Meet Alexandra Torterotot, Script Supervisor
🎠Pro Spotlight: She works in a department of one and gets a masterclass in directing on (nearly) every film.
Alexandra Torterotot has worked with a stellar array of directors, including Wes Anderson (The Grand Budapest Hotel), Spike Lee (Netflix series She’s Gotta Have It, Black Klansman and the upcoming High and Low), Ava Duvernay (When They See Us), Darren Aronofsky (The Whale), Steven Soderbergh (High Flying Bird), Jon Chu (In the Heights), Rebecca Miller (She Came to Me) and Bradley Cooper (Maestro).
Script Supervisors are vital to filmmaking. They track all of the details—wardrobe, props, hair, makeup, scenery etc.—and make sure they remain consistent across different scenes. I recently interviewed Alexandra to find out how she became in high demand in the role.
Jane Applegate (JA): What led you to become a Script Supervisor? Did you start out on a different career path?
Alexandra Torterotot (AT): I always knew from a young age that I wanted to direct films and went straight to film school after graduating from high school. I was falsely taught that the best way to work your way up to becoming a director was by taking the PA-Assistant Director route, which I quickly learned wasn’t in my DNA. Managing schedules and a film set was just not creative enough and way too stressful!
I knew little about script supervising, but I have always had a good eye for detail and often noticed continuity errors in films. So when I learned more about the job while interning as an office PA on various films, I realized it was the perfect job for me. I first attended Shari Carpenter’s workshop (she was Spike Lee’s Script Supervisor). But where I really learned everything was when I met Sylvette Baudrot on the set of the Diving Bell and the Butterfly. She was 80 years old at the time and I was lucky enough to intern under her tutelage.
JA: Did your parents or other influential individuals try to discourage you from pursuing a career in entertainment?
AT: No, my parents were always very supportive and excited for me and I wouldn’t be where I am today without their unconditional support. All they asked is that I get a degree and go to film school.
JA: Did you attend film school or a college-level film program?
AT: Yes, I first attended a film school in Paris and then the School of Visual Arts in New York City, where I got a BFA in directing.
JA: What advice do you have for someone interested in becoming a Script Supervisor?
AT: Definitely attend a workshop to learn the basic skills and—depending on your level of experience on working on film sets—find a job as a PA at least once to get a feel of how a professional film set works. It is crucial to understand what each department and crew member does, as you will be working with most of them.
There are also groups (The New York Script Supervisor’s Network and multiple Facebook groups) that you can join. They are very helpful for someone interested in becoming a Script Supervisor.
It is not easy for us out there, because we are a one-person department. So you can’t easily work your way up. You have to be patient. Also try to work on as many short films and non-union jobs as possible.
JA: What do you like most about your job?
AT: Working so closely with directors! I essentially feel like I get a Masterclass in directing on most jobs. But also working closely with other departments and crew members, such as the director of photography, editor and 1st AD. That feeling of all working together to help the director create their vision is really magical at times. The teamwork aspect of it all is what keeps me going.
JA: What do you find most challenging about the job?
AT: The paperwork and the fact we don’t ever get a mental break while on set. Again, we are a department of one, so there’s no one to cover for us if we need to step off set. When we get home, we have more work and can’t simply disconnect, so that can be quite exhausting over an extended period of time (which is why I don’t work on TV series).
JA: What advice do you have for people just starting out in the industry?
AT: Film school is great, but where you really learn is on set. Whatever career path you are choosing in the industry, it is vital you get hands-on experience. Be patient and don’t take things personally. The film world is full of all different personality types and it’s important to stand up for yourself, but in a diplomatic and professional way.
JA: What are your career goals for 2025?
AT: My husband and I are in the final writing stages of two feature film scripts, so our goal is to move on to the next phase of development and try to find producers and investors.
JA: How can people connect with you?
Check out my website and follow me on Instagram.
