A feature film is almost never shot in the order the audience will see it. The schedule is built around what costs money to move, and narrative order is sacrificed to that arithmetic.
Company moves dominate the budget
A film crew is a large traveling operation with trucks, lighting rigs, catering and dozens of specialists. Relocating all of it consumes hours of paid time and produces no footage.
Scheduling therefore groups every scene at a given location together, regardless of where those scenes fall in the story.
A house used in the first and final acts is shot in one block, which is why an actor may play a character's opening and closing states within the same week.
Cast availability compresses the plan
Performers are contracted for a defined number of days, and expensive supporting actors are often available only within a narrow window.
Schedulers cluster every scene involving those actors, sometimes shooting a supporting role's entire part before the lead has finished the first act.
This is also why a scene between two characters can be filmed on separate days, with each actor performing against a stand-in reading the other side.
The strip board makes the tradeoffs visible
Traditional scheduling breaks the script into scenes with their location, cast, time of day and page count, then arranges them until the constraints resolve.
Interiors are flexible and exteriors are not, since daylight, weather and permits impose fixed windows on outdoor work.
Night exteriors are the most constrained of all, which is why productions cluster them into blocks and shift crew schedules for a week at a time.
Continuity becomes a specialist job
Shooting out of order means tracking the state of every element across time: costume wear, injuries, hair length, how full a glass is and which hand holds a prop.
A script supervisor maintains that record in detail, photographing setups and noting the exact action so a scene shot weeks later matches.
The department also tracks emotional continuity, since an actor needs to know precisely where in the character's arc a given day's work sits.
Some sequences resist the logic
Productions occasionally shoot in order where performance demands it, most often with child actors or where a role requires visible physical change.
Chronological shooting costs substantially more, so it is usually confined to a portion of the schedule rather than applied across the film.
Physical transformation is more often handled by splitting the schedule into blocks separated by weeks, which achieves the change without abandoning location grouping entirely.
Reshoots break the pattern again, since they occur months later once an edit has revealed a gap. By then locations have been struck and actors look different, which constrains what can be fixed.