I will keep myself cool, to navigate this, I’m focusing on open communication with both actors, exploring possible adjustments, and coordinating with the production team to find a solution that works for everyone without compromising the project timeline. Happy Durga Puja Happy Wednesday

Oh well Eric won’t mention last name disrupted Downside of Bliss everyday almost due to alcoholism so we scheduled everything we could shoot around him till Nelson stepped in to tell him this had to stop. He could have cared less when it was discussed with him but the director had an attachment to the story and would not fire him and he funded his own film. I warned producer and director of losses and no one did a thing but I did my part as script supervisor and UPM

SCHEDULING conflicts are a part of the process. First, write down the conflicts - put it into the entire schedule- determine what can be shifted and what can not. Realize that some conflicts are deal breakers and you may have to replace one of the talents and even reshoot a bit if that's the case. It can come down to more than the creative side. You may need to answer to the investors or EPs and knowing you have the path to complete filming will be critical.

That is a production issue that should not occur on set. If it does unfortunately occur, it is a situation that the Producer must deal with.

Try to find common ground and work out a compromise so each actor gives a little but still gets most of what they want. If that’s not possible, consider shooting the scene in parts, filming one actor’s shots on one day and the other actor’s on another. In post-production, you can edit it to look like a seamless scene! (This method can be tricky and should be used only as a last resort!)

Avoid showing their faces and leverage the tension that absence creates. Extend the emotional weight into subtle, tacit expressions—small gestures, shadow play, or a flicker of movement can communicate volumes. Orson Welles did this masterfully in Othello. When budget constraints left him without costumes, he turned this limitation into the iconic Turkish bath scene, staging Roderigo’s murder with the actors nude rather than in full costume. This bold workaround intensified vulnerability and tension, creating one of cinema’s most memorable moments. In the same spirit, embracing these constraints as opportunities for inventive storytelling can elevate the scene far beyond what was initially planned.