Saturday, February 28, 2015

Extra horror stories from the set

I personally have not had what I would call a really horrible experience thus far.  My worst has been having to stand out in 30 degree weather for a couple of hours straight. It felt like my toes were going to fall off.  I couldn't feel them anymore no matter how much I stamped them on the ground.  People assured me I couldn't get frostbite this way and that I would be fine once I was in a warm place again.  All the same, I was pretty worried about the long term well being of my toes.

Others I talked with definitely had some disturbing stories.  One woman told me she was playing a kidnap victim in a dungeon scene.  She said Location had done too good of a job in finding a dark, cold, dank, dirty place for the dungeon scene.  This extra told me the shoot lasted for 15 hours, much of the time she and others had to be in that dungeon.  She said it was really tough and the only thing that kept her going was the thought of earning overtime pay.

Another woman told me that she was filming for The Knick in the peak of the very cold winter last year.  The problem being that what was being portrayed for the scene she was in was the hottest day of the summer.  She had to be outside in a flimsy linen dress with not much ability to wear many layers underneath.  The shoots were taking hours at a time over a three day period.  She said she was absolutely freezing those entire 3 days.  She also described that the street scenes were very muddy and the hems of all the women's dresses were caked in wet mud--going to the restroom was a very messy affair with mud getting all up there legs and bottoms as they tried to hike up their dresses to go to the bathroom.  "Other than that" she said it was a great experience to film on the Knick and accepted their invitation to return for filming on Season Two.

Another guy told me about filming really late on Halloween night in one of the most well known heroin ridden neighborhoods in the Bronx.  The location scene was cordoned off with police officers stationed around the entire set.  A car approached the set way too close.  The driver was pulled over and when police investigated, they found heroin and 3 loaded guns with the driver.  They had to fight him down to the ground with all the extras witnessing this.  Could've turned into a really bad scene for sure.

Another woman told me that extras were stationed in a condemned building that was so toxic, it sent one person to the hospital because of profuse bleeding from the nose and mouth and other extras were also bleeding but not as profusely.

I'm not really looking for this level of extreme "Extra-ing" but you just never know what's going to happen.  I have to say, the more I get into the work, the more layers of complexity and intricacy I discover. It's definitely way more that what anyone might think at the surface level.

In It to Win It...

I have always been competitive, now mostly with myself, earlier in my development with peers. I've written out five and ten year life plans since I was in junior high. It's important to me to take on projects, accomplish goals, check things off my list, and push myself forward.  It's a curious combination with my highly anxious temperament.  Continuously asking myself with great anxiety and self doubt--Why do I put myself in these situations? It's been about 50/50 whether I got much joy out of the process to achieving my past professional goals but finally meeting those milestones was always amazing satisfying. Since leaving my psychologist position for the move to NYC and realizing I would not be working professionally here after all, I've been at a bit of a loss. In place of a professional life, I decided to completely steep myself in getting to know NYC.  I love NYC and it's been quite a love affair these last four and a half years. Now that I've gotten involved with background work, my competitive nature is roaring back to life.  And I like it! I feel invigorated and excited about lots of possibilities the direction this work can take me.  I really like working. I like having to show up at a certain time, meeting expectations, following directions, having good things said about my work, being a part of something, earning money (even as little as it is), improving my skill set, new experiences, enjoying the unpredictableness of it all.  We are in a bit of limbo as to how much longer we will be staying in NYC so that makes the reality of achieving my goals a little iffy but I'm going to make the most of the time we still have here.

I'm back to making a list of professional goals. Excited about challenging myself and seeing what can I accomplish. I'm taking a multi-prong approach to the experiences I want to have as a background extra by the time I leave town.  The really great thing about this go round is that there isn't much of an anxiety component.  Because this work is so far afield from anything I ever imagined myself to be doing, any accomplishment is a milestone--a very reinforcing place to work from.

The following is my list--kind of a time capsule of sorts and because I am making it public on this blog it becomes even more so of a commitment.

My goals as an extra--in no particular order:

1)  Qualify for a Screen Actors Guild card either by collecting the necessary 3 waivers or somehow sometime being given the opportunity to say even one word of a speaking line.  Waivers are not so easily gotten. From what I've heard, getting them is a rather random experience.  Seems most commonly, if not all the union positions are filled for any given job, the production assistant (PA) can give those contracts in the form of a waiver to any non-union person of his/her choice.  It's advised to ask periodically of the PA if there is a chance for any waiver.  It's a delicate conversation, one I'm not quite ready to have.  I'm hoping for a multiple day job where I can get to know the PA a bit and then approach.  I'm confident those jobs will come my way. I've already been offered a 10 day job that I couldn't take because I had another obligation on one of the days (that was particularly painful to have to turn down that offer.)  I was up for 3 or 4 day job recently but didn't get selected. The other way is "right time, right place" where a director just happens to throw you a speaking line, even one word.  That would be fantastic to qualify in that way.  I'm not thinking that's my route but I'm certainly open to it.

Obtaining a SAG card allows me to join the union affording me substantially more income (2 to 3 times as much pay per job), it also allows for purchasing health insurance and establishing a retirement plan.  It is one of those spend money to make money scenarios.  It costs $3000 to join up front, then another $200 annual fee. I've met several people who have the qualification to join but not the money.  It puts them in a tough situation to never really be able to get ahead. They just can't afford the outlay and wait for subsequent work to eventually cover the cost.  They are essentially living pay check to pay check.  I'm so lucky to be able to pay that fee upfront when I meet criteria.  It'll pay for itself within 10 to 12 jobs (about a month's work) then it's all gravy from that point on.
 
2) Be a featured extra--this is someone who. although doesn't have a speaking role, is more prominent in a scene than just a blur in the background.  They may demonstrate a particular skill (a la the snake charmer) or just be more key in a scene.

3) Get at least one Print work job --local, regional, or national.  I've applied for several so far but nothing yet.  I feel it's a matter of time, patience, and doggedness. It would be great if this were the gateway to the "money shot."  People have told me of being paid $20,000 to $60,000 for print work.

4) Be in as many far ranging roles as I can.  I feel I'm already being type cast as a lawyer/professional type.  I've kind of done it to myself for the most part because of the photos I've posted on my profile page.  I need to figure out how to change up my image to show more range.  I have some ideas and Bob is more than willing to do the photography.  I'll unveil a few new pics over the next couple of weeks. I'm working on upping my prop wardrobe.  I've bought hospital scrubs in a couple of colors and a physician's lab coat.  Still doing more research on the policeman's uniform.  I did price it out and looks like it'll set me back $400.  I want to make sure I have a full understanding of all the details for what makes a complete uniform before making any haphazard purchase.  Seems like I'll have to get not only the winter uniform but the summer shirt as well. It's gonna happen but in the most educated way. I'm on the Blue Bloods set again on Monday so will have the opportunity to talk more to those portraying cops. Still going to do the swimsuit pic. I'm still debating about whether to purchase an evening gown.  I'm just not feeling very confident about whether I can pull off the whole image to the level they describe in the job descriptions. Definitely will play a dead body before my career is over here, a zombie or monster would be fun, a psychologist or professor would be most appropriate. Other desired roles are a cult member, a prisoner or kidnap victim, an accident victim (with bloody makeup), etc.  I really want to be in a period piece like Boardwalk Empire or the Knick or anything of that genre.

I will say that I tend to way overthink wardrobe.  I'm such a rule follower.  I take directions very seriously.  I still worry every time whether I'm taking appropriate outfits and yet ON EVERY SHOOT there are people there who are a out of sync or a complete mess with what was asked for.  They are poorly groomed, their clothes are rumpled and ragged--I see them pulling out their clothing out of paper bags, their shoes are completely wrong for their outfit, etc.  And yet they make it on to the set for filming. I won't stop meeting my own high standards but I just gotta get over the worry part.

5)  I want to be in a commercial that has less than a dozen people in it.  All commercials pay better so I won't turn down any commercial but I'd like to be in a more intimate shoot, not one of hundreds which is my experience so far.

6)  I'm hoping to get up to working 15 days a month.  January I worked 4 days, February I worked 7 days (and that was a short month plus a week of travel). March is starting well with a job already booked for Monday. People have told me that winter is the slow season, though it seems like there are a lot of job postings.  Supposedly things really amp up in Spring and Summer and rumor has it that several movies will be filmed in NYC over the next several months.  One directed by Jodie Foster. This all portends well for steady work.

7) I really want to do a demo for a Public Service Announcement, feels like a more noble effort with potentially good pay off for helping others.

8)  There are several TV shows I would love to work on: The Mindy Project, The Good Wife, Girls, Saturday Night Live skit or short film, Nashville (if they ever do a location scene in NYC), Portlandia (they did a location scene in LA, maybe NYC is next), Madam Secretary, Veep (if they ever do a location scene here), The Knick, Boardwalk Empire, Broad City, Louie, Orange is the New Black, The Americans

That's my list so far. I may amend it to add more as time goes by, but this is a good start.

Last thought, I don't think adding a tin man costume to my wardrobe is ever going to happen--but somebody out there has one.... A job for everyone!

Casting Notice
 
Project Name:UNTITLED TV LAND COMEDY SERIES
Project Type:
Format:
Rate/Compensation:
 
Message:

NEW ROLE, READ DESCRIPTION PLEASE

 
RoleRole TypeGender/Age/EthnicitiesDescription/Note
UNION/NON-UNION TO PORTRAY TIN-MAN TENATIVELY WORKS FRI 3/13**PLEASE READ DESCRIPTION**ExtraMale or Female / 18 to 100 / All EthnicitiesUNION/NON-UNION TO PORTRAY TIN-MAN TENATIVELY WORKS FRI 3/13 **PLEASE READ DESCRIPTION** PLEASE NOTE IF YOU OWN YOUR OWN TIN-MAN OUTFIT/COSTUME. THIS IS THE LEGIT TIN-MAN FROM THE WIZARD OF OZ THAT WE ARE LOOKING FOR. PLEASE SEND PICS TO hunterLsubmissions@gmail.com WITH PICTURES OF YOU IN COSTUME, ALSO PUT YOUR NAME AND TIN-MAN IN THE SUBJECT LINE
 

Thursday, February 26, 2015

going down the rabbit hole...

As my understanding deepens about all the opportunity there is for work related to being an extra or "the face" for various products or procedures, I'm starting to feel some internal desire/pressure to get some cosmetic dental work done. It isn't covered by insurance so will come out of my own pocket and it ain't cheap.  I had been foregoing this because it just didn't matter before. Even though I have one defective tooth that is somewhat noticeable, it never seemed to hinder any personal or professional progress.

Now that I am thinking of getting into print work, having my face/person on printed advertisement/announcements for pamphlets, magazines, posters, billboards, public service announcements, etc  I'm thinking I need to improve my smile profile. The whole thing about getting into print work is an ABSOLUTE 180 degree turn for me as I've spent the better part of my life actively and forcefully avoiding anyone photographing me. But now, it seems like this great challenge for me.  I really want to see how far I can take this.

I am also considering getting my teeth whitened, another MAJOR consideration that I do not take lightly.  I abhor the idea of getting any chemical treatment done. I am a bit of a fanatic of not wanting to take any medication unless absolutely necessary and try to avoid any known toxins. I have a message into my dentist to see what my options are.  Still not sure I will do that but it has come to the forefront where it was never a question before.  I've kind of become obsessed now with looking at people's teeth in print work, TV, movies, and commercials. And true, not every one has perfect teeth. I'm just thinking that to get my foot in the door, first impressions are hugely important. On the other hand,  I'm also thinking that if my face is what they want they can always photo shop my smile to make it more perfect. It's so weird to have these thoughts going through my head because I've always been so opposed to photoshopping and any artificial interventions that overemphasizes the importance/impression of perfect beauty--and yet, here I am.

While on the elliptical in the gym, I saw a special on what women Oscar candidates go through prior to their red carpet appearances and it is just outrageous what they put themselves through and the cost for all the treatments.  And while I will never get to that level, I do think more about my weight, fitness, muscle tone, teeth, hair, etc. since engaging in this extra work.  It's all new to me because I grew up a tomboy and an academic nerd (I was sandwiched between two brothers and was obsessed with getting straight As). "Girlie" concerns--clothes, hair, makeup, etc. just never were my thing.

I started dying my hair about 10 years ago for a while to make the best of a too short haircut which made me look way too maternal versus hip and to participate in an Amma fundraising effort. I won't lie, it also took off a good 10 to 15 years off my looks. I stopped for the last 6 years or so because my hair grows so fast that I couldn't keep up with the root exposure, it's expensive, and it was starting to damage my hair.  Plus Bob really didn't like me dying my hair and absorbing all the chemicals that go along with that procedure.  Since stopping, I have to say that I get a lot of compliments on my hair so I'm feeling okay about not dying it but even that has started to creep back into my consciousness.

I've also never gotten my eyebrows waxed or threaded or had any waxing or laser work done on my face or rest of my body.  I don't think I'm going to get into any of that, but again, it's more present in my mind than ever before.  I debate whether it's a vanity thing or an investment in my career. What price am I willing to pay to be successful? I can see how easy it is for things to get out of hand for some people with all the plastic surgery.  I feel lucky that I'm coming into this very late in my life, having had a very successful and deeply meaningful career as a psychologist and this "new career" is just a bit of an after thought.  I'm invested but still feeling pretty balanced about the whole thing--at least presently.  I'm still me but I do look at others when on jobs and see the degree of advancement many of these women have in the ways of hair, make up and clothes.  It's an interesting new metric for me to be thinking about.  It doesn't make me feel bad about myself at all, I just find it interesting to be thinking about these things after never really thinking about them ever before.  It's a bit of an intellectual exercise for me.



My first overnight shoot

I actually didn't mean to sign up for an overnight shoot.  The job notice mentioned nothing about the timing as job notices usually do--at least they give you a general sense of timing.  The project is the upcoming film, Oppenheimer Strategies, starring Richard Gere, Steve Buscemi, Josh Charles, and Michael Sheen among others. I was conference attendee at a happy hour event and then an audience member at a conference presentation. I had great views of all four of the principle actors during the filming. The production is using the the Brooklyn Museum as the location for several parts of the film.  They can only use that location when the museum is closed thus the overnight shoot.  You never know any of this info til the night before or the morning of.  You have to be prepared for anything if you want to do this work.  So I didn't find out it was an overnight shot til 10am the morning of.  I had a call in time (arrival time) at 4:45pm and wasn't released til 5:30am the next morning. Once we wrapped, they did bus those of us who live in Manhattan to Grand Central Station which was really nice of them.

It's a good thing I've done lots of Amma programs because it's not unusual for Her programs to go through the night and well into the morning. I held up better than a lot of people.  I'm so glad I did not have another job today.  Some people were saying they had 6am call times for jobs today.  Essentially they will go 24 hours or longer with no sleep. I know I can not do that schedule but it is a real risk you take in lining up jobs. If you want to work as much as possible you just submit for any job notice you are compatible with and try to work as often as you can.  You submit for jobs totally on face value of what is contained in the job description which is just a very short blurb with little detail of the where and when of the final work.  Even the filming crew don't know what the next day start time is for some of the jobs until they wrap at the end of the day/night.  How long a shoot goes and how much can be accomplished in a day is dependent on so many factors.  You never know how long you will be working on any given day.  I have traditionally had a lot of control over my schedule so this is pretty much the opposite of how I have managed my time.  It's been a good exercise for me to let go of control, go with the flow, and just see how things play out.  I think the only reason I'm able to be so much more flexible is because this is a totally voluntary situation.  There really is no way to fail at this because the gains are all intrinsic.  It's all just for fun. That makes it all so easy. I'm just going to go with this til it's not fun anymore or the hours kill me.

It's also a very reinforcing experience each time.  So far something special has happened with each job that has made the adventure worthwhile, despite the long and unpredictable hours, early call times, challenging commutes, tedious downtime, etc--for example, last night I was put in a position where I had to stand next to, then sit directly behind, Richard Gere. I've had a bit of crush on him for a very long time, so what a great opportunity. Even though we are instructed as Extras to not approach the principle actors, he and I were in such close proximity (like two feet from each other) it just would have seemed weird to not say anything. So I smiled and said hello and he smiled and said hello and that was very nice indeed.  He is a devout Buddhist and his lack of ego showed beautifully last night. He is very unpretentious, was openly appreciative of the extras, thanked us for our work and long hours, and said good night to all of us.  We all gave him a round of applause as he exited the scene.  I also met a fellow extra who is a professional tango dancer. And I loved being in the museum at night after closing hours. On another job, for a scene, I sat next one of the lessor known actors but who works very steadily on various TV shows and was a regular on Third Watch for 7 seasons.  We chatted a bit and during a longish break she asked me if I would run (read) lines with her as she was filming an episode of Law and Order SVU the next day and had not yet memorized her lines. That was very fun and she spoke about the character's motivation and her discussions with the writer and director about her differing opinion of what mental illness this character has.  I totally agreed with her understanding nuances that the writers and directors were missing.  Anyway, it was very cool to do that with an experienced actor. She was very friendly and personable. It's those kinds of random events that make it all worthwhile to me.

I don't know that I will intentionally submit for overnight shoots but at least now that I have one under my belt and I know what more to expect, I can go into it a bit more knowledgeably. My next adventure happens next Monday with a repeat visit to the set of Blue Bloods where I will play a lawyer, court administrator, and a bar patron.  Curious to see how much they try to change my look beyond wardrobe.  

Favorite weekly job notice

Here is one that just gave me the willies....I love the direction to respond by putting Cavity Search in the subject line...and email candid photos and sizes of what might I ask??

Casting Notice
 
Project Name:Crime
Project Type:Film & TV
Format:
Rate/Compensation:
 
Message:

Submit if you fit what we are looking for

 
RoleRole TypeGender/Age/EthnicitiesDescription/Note
Men 20s to late 30s ok with FULL FRONTAL NUDITY to portray inmates avail Tuesday March 17thExtraMale / 20 to 39 / All Ethnicities, AfricanAm, Am-Indian, Asian, Caucasian, East-Ind, Hispanic, MidEastern, Mixed, PacificIslandThis is a cavity search scene in the prison. You MUST be comfortable with FULL FRONTAL NUDITY. Please email candid photos and sizes as well as union status to crimebackground@gmail.com and put Cavity Search in the subject line.


For fun, I thought I would share regularly some of the more fun and interesting job notices -- check back for updates.

For this week--how fun would this be....

Casting Notice from NYCastings.com® 

Project Title: 
Last Stand of the Zombies - Feature Film
Project Type: Feature Film Union Status: Non-Union
Pay Scale: $100/day Submissions must be received by: 3/13/2015

Role you may be a good match for: 

Nudist Zombies| Non-Union | Female | 18 - 65 yrs old 
Role details: Killer zombie nudists of all backgrounds/body types. NUDITY REQUIRED, Please only submit if comfortable with Nudity.
http://www.nycastings.com/v3_SiteLoginR.asp?httpr=/Public_s/v3_ViewNoticeDetail.asp?QPn=74910&Qn=64335
and then there are the job notices that ask for VERY SPECIFIC Skills
Casting Notice
Project Name:The Knick Season 2
Project Type:Film & TV
Format:
Rate/Compensation:
Message:

GWCI is seeking a SAG-AFTRA/NON-UNION REAL SNAKE CHARMER. Works Tues. 3/17 and Wed. 3/18. Please send recent candid photos to theknick@gwcnyc.com with the subject line reading: Snake Charmer, Name, Union Status, Phone Number (For example: Snake Charmer, Jane Doe, Non-Union, 555-555-5555). Must be okay and comfortable working with real snakes. This is a paid job. Men must be okay receiving a 1900s style haircut. Okay working around smoke.Fitting on a TBD date in Greenpoint, Brooklyn.

RoleRole TypeGender/Age/EthnicitiesDescription/Note
SAG-AFTRA/NON-UNION REAL SNAKE CHARMER, WORKS TUES. 3/17AND WED. 3/18ExtraMale or Female / 0 to 99 / All Ethnicities, AfricanAm, Am-Indian, Asian, Caucasian, East-Ind, Hispanic, MidEastern, Mixed, PacificIslandGWCI is seeking a SAG-AFTRA/NON-UNION REAL SNAKE CHARMER. Works Tues. 3/17 and Wed. 3/18. Please send recent candid photos to theknick@gwcnyc.com with the subject line reading: Snake Charmer, Name, Union Status, Phone Number (For example: Snake Charmer, Jane Doe, Non-Union, 555-555-5555). Must be okay and comfortable working with real snakes. This is a paid job. Men must be okay receiving a 1900s style haircut. Okay working around smoke.Fitting on a TBD date in Greenpoint, Brooklyn.

Monday, February 23, 2015

oh the variety .... I cannot make this up...

Just wanted to share one of the funner job notices...I did submit for this one but with the caveat that I'd only do it if the weather was over 40 degrees.  We have a couple of those days coming up next week.  So if the shoot date falls on one of those days and they pick me, this will be quite an experience.  Being in a crowd of 150 people feels pretty safe that I won't be seen in any specific way. Pretty hilarious.


Financial Firm Brand Launch - WebsiteWebsite
Background TalentMale or Female | Any Ethnicity | Age: 18 - 50 | Role Type: Background
150 extras to dance in their underwear. Must be comfortable dancing in your underwear. This is an exterior shoot but the shot will only take about 10 minutes, if uncomfortable in the cold that long please do not submit. Talent will be required to arrive on set 2 hours ahead of time to get everyone checked in before the shoot.
2/18/2015
Non-Union
$100 cash for the day.


Here's another I put in for....I'm a little out of the age range but I told them I have pretty nice legs...
Deep Vein Thrombosis Month - PSAPSA
ModelsFemale | Any Ethnicity | Age: 30 - 45 | Height: 5' 7" to 5' 9"
Seeking models with long legs to demonstrate how to wear the medical wrap product while Dr. Lam talks about how to combat the medical condition deep vein thrombosis. No lines. This PSA will be shown only in selected states.
2/16/2015
Non-Union
$400

Also, submitted for another dead body scene in early March that I'm waiting to hear back from. 

I'm trying to see just how wide ranging of roles I can get.  I want to be in a movie where I get to be an extra on the order of an Ork like in the Hobbit movies.

I'm headed to scope out Police Uniforms and medical staff scrubs tomorrow afternoon!

 

Tuesday, February 17, 2015

What are the limits???!!!

There are so many different roles that are posted on the job notification electronic bulletin board I subscribe to—I mean it make sense because EVERYTHING is depicted on TV or in movies.  Even if I wasn’t working much as an Extra, it’s worth the monthly fee just to read the descriptions of what work is available.  I would say about 80% of the work is pretty standard—lawyer types, wall street types, pimps, high end social types, party goers, prostitutes, perpetrators, thugs, restaurant patrons, bar patrons, audience members, police, street pedestrians, etc.  But the other 20 percent is just so fun….just the other day, a notice came out for an Extra comfortable with WEARING BRACES AND BITING A MAN’S ARM.  I love the way they use the word “comfortable” in assessing right fit for the job.  I kid you not!  Oh, SNAP, you know I immediately put in for that role. That’s gotta be an interesting project. They didn't give the name of the show in the job notice, just that is in on FX. I really really hope I get picked for that one.  Of course I would bring my own skin sanitizer and mouthwash for the protection of both of us—I assume they will provide all that there for the shoot but better safe that sorry.  I am so curious how they are going to stage that and how many takes can they actually do to get it right.  It must be some kind of prosthesis they will use, it’s hard to believe I’d be biting into a real arm.  You can bet if I get that job their will be a blog entry devoted to that experience!

Then there was a notice looking for people 50 and older to be videotaped for their reactions watching virtual porn.  That was creepy and most definitely not the right fit for me, though it paid better than non-Union scale wages.

More notices than you think for amputees of any kind--clearly not a role I can apply for.

If I was willing to learn to drive in NYC--(which I don't because I'm a terrible driver as it is and it would be a hazard for me and all others to drive in NYC), I could apply for a lot more jobs--having a car pays an extra $35 if it's the type of car they want in a scene.

Pets can also bring in an extra $35 if it's the kind they want. 

Another role I wanted badly but they were only recruiting Union Extras was to be a body that was frozen to death.  It said you had to be comfortable with LOTS OF MAKE UP.   That would have been so cool to get that made up.

Another one that came out while I was out of town was to play a dead body on a Medical Examiner’s table. That one made it particularly hard to be out of town.

There are quite a number of notice for Biker chicks--don't think I could pull that one off even if I tried.

When I sign up with casting agencies, you have to fill out several pages of questions of the talents you have--that goes very fast for me since I don't have any talent--don't sing, dance, play any instruments, speak any foreign languages, juggle, etc, etc....always a humbling experience to fill out those forms.

But they also ask, whether you are willing do to nudity--frontal, upper, lower, total body.  It's just a question I can't even consider because of my history of being a psychologist for over 20 years.  It just would be a really traumatic experience if any of my former supervisees, clients/patients, their families, colleagues or staff saw me to any degree of nudity.  I do sometimes wonder what I would put if I didn't have that history.  There are some very interesting shows that do ask for some level of nudity, one is The Knick on Cinemax.  A really great show starring Clive Owen who I am a huge fan of.  I'm hoping to eventually get on that show--sans any nudity.

I'm was trying to break into that upper crust casting type but I just don't think I have it in me to look or act that way.  I'm watching those types on TV and movies and there is an aura about those types that just isn't me, so will probably just have to let go of that type,

Better to stick with the dead bodies or characters that get lots of costume make up when not playing the typical extra. It's early in the game for me and I've not done any movies yet so who knows what other really unusual roles I could wind up in. It's such an unpredictable job, which makes it so much fun. Curious to see how far out I will go.











Monday, February 16, 2015

It'll never be the same....

Of course now I’m obsessed with the background actors and set when watching any commercial, TV show, or movie.  It’s like I can’t focus on the foreground or main actors – so many background actors everywhere. I like to look now for the little touches and details location has taken to make the scene as realistic as possible.  I think of what the background job notice read like, how wardrobe phrased the way they wanted them to dress, how long did the shoot go for, whether the principle actors were nice to work with, whether I could have been picked if I had submitted, what their holding room looked like, if it was a super early call time or late night release, if they got a nice selection for lunch, if the crafty table was as good or even better than the one at The Following.  Etc,, etc., etc.  I wouldn’t say that working as an Extra has ruined my enjoyment of watching TV and movies.  I think it has just really broadened, deepened and heightened my awareness. By the way, I have to say, The Following crafty table and lunch buffet has become my baseline from which to compare all others.



Gotta give it up to these folk for making it real

In an earlier post, I alluded to how impressed I am at the effort made to make the shows look real.  I mean, we all know this is TV and movies, and not real but, WOW,  the work that location, set designers, set maintenance, and background directors take to bring an extraordinary level of nuance to the filming is really worth writing about.  I just have to give them a SHOUT OUT.  I’ll give just two examples that will give you a good sense of what I am talking about.

For the segment of Billions I was background, the set was located on the 21st floor of an office building on Wall Street.  Location had redone a very large office area to look like a busy District Attorney’s office.  It all starts when we got off the elevator to that floor.  On the walls are pictures of Obama, the governor of NY, a copy of the official US seal, an American Flag, and a variety of other official looking memorabilia on the walls.  The walls are done up in rich wood paneling.  Once you enter the actual office, there are 30 or 40 desks lined up and on EACH desk there is a fake phone, fake computer mouse, a computer screen with the contents of the screen preprogrammed and remote controlled so that the screen shot changes every 15 minutes or so.  The screen shots are of official looking documents and charts and graphs.  Then there is a basket of files, a desk lamp, pencils, pens, sticky note pads, and paper clips.  They then take it another step higher, adding personalized items to each desk, with each desk having different little doodads on them—we are talking 30 to 40 desks.  Mine had a snow globe of NYC, a little birds nest, and lots of personal sticky notes attached to my computer screen that had reminders on them like—don’t forget dentist appointment at 3pm, Rick stop stealing my office supplies—I know it’s you (that was my favorite), Call the accounting office, Pick up dry cleaning on Thursday.  Location goes to this much detail for EVERY SINGLE desk. The chances of any of this level of detail being seen is so exponentially small.  They also add things like bike helmets, umbrellas, galoshes next to various desks.  Some desks had cup of noodle container, food take out containers, bottled juices, family pictures of kids, etc.  What a dedication to detail.  I will say that when I walked in, I really felt I had walked into an office where people had been working together for years with all the kinds things that get accumulated over the years. They had pictures of softball teams and trophies on shelves and file cabinets.  It conveyed such a deep feeling of camaraderie and yet a week before, NONE OF THIS EXISTED.   I will say, creating that atmosphere, whether the detail is ever seen or not in the final version of the that episode, does bring a remarkable element for setting the mood and getting the most out of the scene from the background actors.  I really liked my snow globe and bird nest and all my little stickies on my computer screen….it brought home a lot of memories of all the little momentos I kept on my own desk when I was working and I was always about putting reminder stickies all around my computer screen.  It just didn’t feel like much of a stretch for us as a group of extras who had never met each other before to come together and feel like a real working office. Very cool.

For the Law and Order episode, they were filming a scene taking place in a court room.  Only the principle actors were in that room being filmed.  The reason they hired 10 Extras as lawyer and secretary types is because there are two sets of doors in that court room's perpendicular walls. These doors may be seen in the background while the main scene is being filmed.  One set of doors is closed but has opaque windows and the other set of doors is left open.  What we were asked to do as Extras was to walk back and forth at various intervals past these doors so that it looked like there was a variety of business going on just outside the courtroom.  They issued us each a leather briefcase from props and had us carrying those as we walked back and forth.  I started with walking past the door with the opaque windows—it was really unbelievable to me that they were trying to capture shadows of us walking past those windows.  We did one take and the background director said the windows were too opaque to capture any shadows and moved us to the open doors. 

From there, it was a highly orchestrated timing of passing back and forth---sometimes it was in pairs, other times alone, other times we were to stop and act like we were discussing a case, etc.  All the while, THE CAMERAS ARE COMPLETELY POINTED ON THE PRINCIPLE ACTORS.  It may be that you can see us if they choose to go with a long shot of that conversation in the courtroom but they could also very well choose to go with a tight shot of their argument leaving no room in the shot for anything other than the actors themselves.  It’s all about atmosphere—it really helps the principle actors get into the scene.  I love the obsessiveness of it all, the attention to detail and getting it right.

Okay, I said two examples, but here is a short third one.  On the set of Blue Bloods, they just couldn’t get the lighting right in one of the scenes in a small office, so they asked set maintenance to come in and take down a set of blinds, pop out a window, and move a wall.  Just like that, the set maintenance people go in, do their thang and voila, lightening problem solved in about 10 minutes.  There are always 2 or 3 set maintenance folks around for quick fixes.  I would say that half of them are women.