KATHARINA

KEIL

ABOUT ME

I have an unusual job. I get paid to make out with myself, plan epic car chases, get shot, strangled, wed in the desert, or burn a town to the ground. No, I’m not a hitman. I'm a script supervisor, and my skill is this: I can tell you how long your film or TV Episode is going to be. How? Through an unmatched eye for detail. Call them hawk eyes, if you will.

My job is to help bring your script to life on the screen, before production, by timing it and breaking it down. I do this during the shoot by keeping logic and continuity, and after the shoot by writing and sending reports to the post-production department.

I've worked with nearly every Australian actor under the sun, including: Rebel Wilson, Rachel Griffiths, Shane Jacobson, Hugo Weaving, Ewen Leslie, Dan McPherson, Abbie Cornish, Rebecca Gibney, David Wenham, Anthony LaPaglia…to name but a few. Not to blow my own horn, but I’ve also worked with nearly every Australian director, including: Jessica Hobbs, Kate Woods, Jocelyn Moorhouse, David Caesar, Rowan Woods, , PJ Hogan and more. That’s not even talking about the A-list international stars I’ve worked with; like Kate Winslet, Awkwafina, James Cromwell, Dev Patel, Michelle Yeoh, Tony Leung, Kerry Fox, Greta Scatchi, Christopher Walken, Anthony Anderson, and Jerry O’Connell.

I've been a professional script supervisor, working internationally in film and television, for more than two decades. See for yourself on my profile on IMDB, or click on my CV to discover more.

Over the years, I’ve read more than a 1000 scripts. Some were produced by beginners, but mostly by the seasoned writers you know and love from your favourite Films and TV shows. After working on so many scripts, I know stories inside out. I’m a script expert to the core. Experience does that.

However, it’s important to note that teaching you what I know about story structure, plot and characterising is just the beginning. I also want to show you more about how a script translates into production. I can time a script to the second, help you break down scenes into shot lists, identify surprising budget savings, and show you how to avoid common pitfalls. I've worked with all sorts of budgets, from small to mammoth and everything in-between. I’ve worked in studios and on location.

Basically, I’ve seen it all, and now, I want to share my knowledge and inside secrets with you.  Are you ready to look great? 

GET IN TOUCH

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