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Podcast – Script supervisor Kristin Voumard

Script supervisor Kristin Voumard on being an on-set voice for the editor and learnings from a 30+ year career spanning everything from Round the Twist to Marvel movies.

Splice of stills from Dance Academy The Movie and Rake

Dance Academy The Movie, Rake

Find this episode of the Screen Australia Podcast on iTunes, Spotify, Stitcher or Pocket Casts

There are many aspects to the role of a script supervisor, but first and foremost for Kristin Voumard is being an on-the-ground representative for the editor.

“I want to offer up to the editor the most options for cutting as possible,” she says. “Because once you get into the editing room and you’re in a jam and you can’t get out of it… it’s really hard and really expensive to go back.”

Within that is also helping the director to make sure they have options to work with in the edit as well.

“So there’s that aspect of the job, which I feel is the most important and then there’s the aspect of trouble-shooting for costume, make-up, wardrobe,” she says.

Kristin Voumard on locationKristin Voumard

On the latest episode of the Screen Australia Podcast, Voumard talks through her extensive career since starting out at Crawford Productions in the 80s and dives into the detail of working as a script supervisor, including switching from film to digital, indies vs studio movies, working with directors like Jeffrey Walker and John Woo, how genres impact how she works, career highlights and advice.

Voumard’s credits include working on Australian TV series like Round the Twist, Rake, Jack Irish, Barracuda, Lambs of God, Mr Inbetween and MaveriX, as well as Aussie features such as Lantana, Tomorrow, When the War Began, Love Serenade and Dance Academy The Movie. Her work has also extended to Australian-filmed big budget studio movies like Mission: Impossible II, Superman Returns, Where the Wild Things Are, and Dora And the Lost City of Gold, as well as working on NBC TV series Young Rock and upcoming Amazon series Class of 07.

Voumard says she fell in love with the job back when she was 22 and still feels the same way.

 “It meant that you could work with everybody,” she says, from the director to the grips, 1st AD, director of photography, editor, heads of costume, make-up, and more. “It meant that I was interfacing with everybody and I really adored that about my job.”

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