Scripty!

John Bruno discusses the importance of the script supervisor.
Here in the Pandora Machine we gave up on script supervision awhile ago.
This is one of those movie making rules like "never mix drunk" -- we don't pay attention to it although it's not that it's a bad idea in and of itself.*.
For me the difficulty with script supervision is that most of the work they do goes unused. The picture editors don't really trust the script supervisors to give them everything they need to know so they tend to not even look in the script supervisor's book during post. The other thing is that I really don't care what anybody has to say on set if they're not an editor. Whether a DP or a fight director, if you haven't edited a feature then you really don't know what you're doing. You might know a whole bunch of rules, and it may tend to be that if you follow all the rules you know you'll tend to not get into trouble.
But we don't really have time for all that.**

We just have time to shoot all the action, all the dialog in closeup, details of anything anybody does in the scene (like light a cigarette), a clean of anything anyone refers to in the scene (like the dead body on the floor), and whatever amusing thing anybody in the room tells you to shoot (if there's time).
This is one reason we like having Maduka Steady with us on shoot days. And the end of a scene I can turn to him and say "Anything else we need to get?" And sure, there's a whole shtick made up about how he invariably says "Get feet, closeup, walking in and out." But I'll tell ya -- we use those shots more often than you'd think in the final picture edit.
Picture edit. It's where the movie is actually made. I mean, sure, you can argue it's the dialog edit where the picture is really made but... picture edit. It's where the movie is actually made.

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*Why on earth would I use that analogy? Oh. I see.
**The one think I do wish we'd do is write down the location of wild audio takes in the master script. Because knowing that is useful in post.