Background Acting 101: Chapters 1–10
A Field Guide For The Film and TV Extra
The go-to book for anyone thinking about background acting. Practical advice and what to expect while working with casting agencies and being on set. A field guide full of tips, support, and insight to help people enter and navigate the business.
1. Welcome Aboard
One doesn’t need a drama degree or acting experience to become a film and TV extra. Candidates don’t have to audition, harbor Oscar ambitions, or know the difference between stage left and stage right to join the cast.
Whether you plan to make background acting your primary job, a side hustle, or a hobby, your full commitment is required whenever you’re on set. It takes all hands on deck to live the dream. Everyone’s effort counts and contributes, including those of the background actor.
Major movies and television shows are renowned for their high production value, authenticity, and attention to detail. This includes the random, yet diverse background actors to support and accent their scenes. Because of this, all genders, ages, and ethnicities are welcome and encouraged to apply.
Long hours, early commutes, and midnight shoots are commonplace. Many days I’ve left my apartment at three in the morning only to return by ten o’clock that evening. Unable to go to bed while waiting on the next day’s call times.
I’ve spent hours in bus terminals, railway stations, and nights with little or no sleep. It’s a demanding business with shifting schedules, various start times, and quick turnarounds.
Despite my experience in the New York City market, the information included in this field guide is universal for most productions — their procedures, guidelines, and expectations.
Casting agencies will differ with their communication methods and dispersing of booking information. Your city’s layout, travel means, and transit system will dictate your commute.
When the shooting days come to an end it’s time to book new work. Each week is a fresh slate waiting on more productions. Another caveat that one must get used to.
2. Starting Out
Casting agents prefer images that are candid in lieu of staged headshots. Besides a money saver, it’s expedient to snap a selfie and send it over to the casting agent. A booking could take minutes, if not moments through text messaging and email.
For the NYC area, try Casting Networks.com. A virtual job board that lists all of the openings for background talent. Membership costs $17.95 per month that includes unlimited submissions and uploads of personal images.
Backstage.com contains a number of listings. They also have a filter feature to personalize one’s job search.
Central Casting of movie extra folklore is still around. To join Central Casting, one must go to their website and schedule an open session two weeks in advance. Currently, they are Tuesdays and Thursdays. A 10:45 AM session and a 3:15 PM session on both days.
The time slots fill quickly. I logged onto their website at 10:45 AM on the dot. I then received an email from Central Casting confirming my appointment.
Two weeks later I joined twenty to twenty-five colleagues in registration. The reps from Central Casting gave us a brief seminar on what they expected from their background actors.
We filled out our paperwork for tax purposes, took a headshot, and finished the orientation by noon. Later that afternoon, Central Casting booked me for a Wednesday shoot the following day.
I continue to work through Central Casting on a regular basis. They will text to ask about your availability for the date and show. If you respond Yes, you will hear back from them on whether they will need you or not.
In my experience, they respond quickly and have never given me the impression of being strung along. If I’m not booked, I have plenty of time to fill in the date with other work.
If you reside in another area, a web search should find the casting agencies and job boards in your city. Once you do, follow their guidelines. They might ask you to register online, in-person, or through the job boards.
3. Booking and Looking For More
Most of your work will be booked on a week-to-week basis. Gone is the nine-to-five job schedule with the familiar workplace, hours, and commute.
This uncertainty is real and needs to be weighed. It’s known to create stress and anxiety among many extras. Again, depending on one’s reliance for ongoing work and how much they’re leaning on background acting to pay the bills.
In and around NYC, film and TV production is at an all-time high. Besides the major networks (CBS, NBC, ABC, and Fox), Netflix, Amazon, Hulu, and Apple have entered the game with a number of shows lined up.
HBO, Cinemax, Epix, Starz, and Showtime continue churning out content. BET, USA, FX, Disney, and The CW have also added productions. These are just a handful. There are others and more on the way.
Internet streaming is the latest trend to reach the forefront. Along with the studios, the networks are now creating original and specific content for web distribution. The scope and potential for this platform appear unlimited, adding more opportunities for the background actor.
Film and TV have always been and remain a now business. You might have wardrobe fittings and future work lined up (dates subject to change), with most of your gigs booked the previous week and days out during the week.
It’s the way the business functions. You might head into the weekend and coming week with few or no bookings. More will be posted and if looking for additional work, you should find it.
Most of the Monday and Tuesday work (unless it’s a big shoot) is often booked by the previous Thursday or Friday. By Sunday and Monday, postings for Wednesday through the following weekend begin to appear on the job boards.
When you read the postings, be sure your gender, age range, and ethnicity meet the requirements. Once those boxes are checked and you’re available on the shooting date(s), feel free to submit.
Don’t get discouraged or take it personally when not landing work. It’s a numbers game that requires patience and persistence. Once productions are underway, they’ll be searching for new faces. Sooner or later your perseverance will pay off and you’ll be on set.
4. Is That a Booking Email? Now, What Do I Do?
After the happy dance, contact your casting agency and let them know you’re all in. They’ll ask for you to reiterate your details. Name, verify that you are non-union, your phone number, the I-9 documents you will provide for tax purposes, your availability for the shooting date and that you are confirmed.
The main I-9 document is a current, unexpired passport and is all you will need. If you don’t have a passport, you must provide two of the following: A valid driver’s license/state-issued ID, a social security card with no expiration or restrictions, or a birth certificate.
Most productions require the original documents. Photocopies and cellphone pictures are normally unaccepted.
For non-residents, you will need to furnish one of these documents: a green card, a work-related VISA, or an Employment Authorization Card.
For minors, a minor’s work permit or child performers permit (states may vary), school assignments, and a report card. (There’s a more extensive chapter on minors and children towards the end of the field guide).
5. Reaching Out
There’s a mixed philosophy on this one. It’s frowned upon to contact casting agencies about work openings and opportunities. They’re very busy and prefer that actors wait for the postings to go live on the job boards and then apply.
I’ve reached out a few times and have been successful. It’s not what you say, it’s the tone and pitch that carry the message. Polite and professional are breadwinners for a reason. (The naysayers call it kissing up, yet, it’s being assertive when they’re the ones kissing up, i.e. reaching out).
There’s a number of shows that I enjoy doing and the roles that I like playing. What’s the harm in texting a casting agent by thanking them for the opportunity? Letting them know I enjoyed the work and would like to do it again if they could use me?
Oftentimes they do. I was thanked by the casting agent, assured they would be in touch, and booked me in the future. Something worked.
On another occasion, I anticipated that they might be needing me. I took the initiative and let the casting agent know that I was available. In one hour she sent me a booking email. Later that day the posting went live on the job boards.
My leg work got me a job and did the casting agency a favor by needing one less role to fill. The worst they could say is no. I doubt they’ll blackball anyone for being available and anxious to work.
6. Availability Checks, Double-Bookings, and Other Fine Lines
An availability check is when a casting agent is considering you for a spot. Before booking, they will ask for your availability on a particular date.
In the meantime, someone else may do the same. Recently, a casting agent texted me about my availability. I answered that I was and minutes later I was booked.
Later that day, another agent booked me for the same date. I emailed back, apologizing for the miscommunication, explaining that I was already booked. I didn’t mistake her initial and earlier email as a booking that was clearly an availability check.
It was her bad, not mine. Big whup. I also let her know that I remained interested, would like to participate, and to keep me in mind for any future background opportunities on her project.
The next time I applied for one of her roles, she texted me with an availability check. I confirmed I was and she texted back that I was booked. Since then, I’ve worked multiple dates on her production without any ‘communication issues’. Professionalism always pays dividends.
As far as double-booking, explain that you were contacted for a recurring role. If it’s core background and or multiple dates, let them know. They might not like it, but that’s better than dumping them because you prefer being on another set.
My principle is allegiance to the first booking. If a second agent sends a booking correspondence for the same date, I decline since I’m no longer available. Do I have regrets? No, but disappointments. I have turned down better background opportunities, but again, based on my principles as opposed to yours.
If you decide to cancel a booking for a better offer, that’s your prerogative. Like any decision, there are consequences to consider that are unique to you and your situation. The repercussions may or may not include the wrath of an angry casting agent with the risk of being docked by that agency.
Most bookings request that you confirm receipt. If already booked, this is your opportunity to avoid a messy situation. In lieu of the confirmation is the option to decline and to let the agency know that you are no longer available.
If it’s too late and you’re double-booked by the same agency, that’s a bit easier. Contact them, and let them know. If both agents could barter on your behalf, there’s less blood in the water and bad feelings to resolve.
One production may feel you’re easier to replace or less of a loss. Ouch — you’re the one who got yourself into this. Your presence might be more vital with one production versus the other.
Casting agents are privy to information that include set locations, looks, and headcounts. They understand the business and that this stuff happens.
There’s nothing awry about applying for multiple jobs on multiple dates. That’s the responsibility we owe to ourselves. However, when things go haywire, the sooner it’s resolved the better.
7. Measurements, Please
Casting agencies will often request your sizes and measurements in their postings and availability checks. Keep them handy as to pass them along when needed.
Women: Height, weight, neck, and bra. Dress, bust, waist, and hips. Blouse, pants, shoes, and hats.
Men: Height, weight, jacket, dress shirt, T-shirt, neck, sleeve, and chest. Waist, inseam, shoe, and hat.
8. Canceling a Booking
When you can’t honor a booking, contact the casting agency as soon as possible. Let them know that you have a situation that needs attention.
Hopefully, it’s not something serious and personal. Actors doing background often have auditions, call-backs, or rehearsals for other projects. Situations that casting agents expect to come up.
Casting agents have heard every excuse under the moon. Deliver the truth by thinking of the long-term. Of course, they’ll be disappointed, but should be understanding.
Remain mindful of future call times if you’re booked the next day on another shoot. You could finish late on today’s production while being expected to report early on tomorrow’s.
I’ve heard about extras calling out, claiming they’re too tired and sleep-deprived. Inclimate weather might be in the forecast, and it’s an exterior shoot. Some may decide they don’t care to be outside in the cold, rain, and snow. The heat and humidity during the dog days of summer.
These are the cancellations that upset casting agents. To them, they’re excuses, not reasons to dishonor a booking.
9. The Booking Email With Main Holding and Report Times
When you receive your booking email you will be told that call-time and holding information will be sent the day before the shoot. If the location is out of the area, transportation will be provided (on smaller productions you might be required to self-report).
Courtesy transportation is often a sprinter type of van that carries sixteen people at a time to a larger touring bus.
Depending on the agency’s method, you will be asked to confirm your booking via email, a fresh email (usually changing the headline) with your name, your confirmation, and whether you will need transportation or self-reporting.
The production email will provide all of the details that you will need. Your check-in number (I suggest keeping it handy) will go on your voucher and be used throughout the day while corresponding with the various departments (initial check-in, wardrobe, hair, make-up, and props).
You will be given your report times, holding location, and set location(s). Oftentimes, holding is on-site or very close to set. Normally within walking distance.
Also included in this email, will be your wardrobe notes. You might have multiple changes, meaning you will need to provide additional looks.
Most ask that you come hair and make-up ready. Gents to be clean-shaven unless otherwise directed.
Holding, or Main Holding, is where you will check-in, check out, see wardrobe, and most likely have your meals. If you have a change-over, you will also change into your second, and sometimes, third look.
When you leave holding for the set, you will enter a satellite holding area. Satellites are a secondary holding area for breaks and often in the set area.
On some sets, you won’t be allowed to bring snacks and such from crafty into satellite holding. Bottled water and coffee are usually permitted. You could still visit crafty and anything edible might have to be consumed outside of the satellite holding area.
Satellite holdings may or may not be all that great. I’ve been on sets where production provided hospitality tents with heat, air-conditioning, tables, and crafty. I’ve been on others with nothing. No crafty table for non-union talent or something to sit on while waiting.
10. Planning Your Route
The night before your workday and after you’ve received your call-time, you could start planning your route to holding. It’s a few minutes well spent. For me, it’s Google Maps.
Punch in the holding address and get the directions. Google Maps also includes walking routes from subway stops. Most have pictures to familiarize themselves with the route along with a zoom feature.
If you plan on taking your car, find out if there’s parking available in your booking emails. In NYC, sometimes there is, most times there isn’t.
Driving in NYC is pricey when you add in the tolls and parking fees. Since you’ll be treated as a freelancer and sub-contractor, it’s prudent to consider your commuting expenses.
You’ll save money using mass transit, and if convenient, I’d look into it. I spend $15.00 a workday commuting ($9.00 for a round-trip bus ticket and $6.00 for the round-trip subway fare which includes all transfers). As opposed to tolls, parking, and gas, it’s a big difference.
This all depends on your location and access to public transit. There are folks who live out of the area who opt to park and ride as well as driving the entire commute. Due to early call times and off-hours transit schedules, they’re often left with little choice.
I have never done background work in California and understand L.A.’s transit system isn’t as extensive as New York’s. Since driving is more the norm in Southern California, film and TV locations are known to provide free and ample parking for hired extras.
While on foot and within walking distance of the holding area, be on the lookout for temporary and posted signs. In NYC, these are fluorescent (pink, yellow, green, etc.) sheets of paper taped to trees, lampposts, scaffolding, and buildings by production assistants (PAs).
They have black lettering and arrows pointing the way to Set, Holding, Catering, and sometimes, Holding/Catering, Set #1, Set #2. Find your destination and follow the signs. They’re usually about a block away and could be spotted from a distance.
Keep an eye out for production vehicles and temporary no parking signs as well. Box trucks, trailers, and technical vans should be present and lining the street you’re looking for. These vehicles require significant space and are often surrounded by traffic cones.
Once you see these rigs, notices, and cones, you know you’re getting warm and closing in. Outside the commute and sweating out any delays, it’s another sigh of relief — you made it.
