Background Acting 101: Chapters 21–30

A Field Guide For The Film and TV Extra

21. Working With Celebrities

Any day a notable actor could appear on set. It’s both a treat and a kick to share the floor with these artists while watching them do their thing. Bette Midler, Kevin Bacon, and Jennifer Hudson are just some of the personalities I’ve been on set with. I’ve had the pleasure to work with many more.

That said, I make it a point to leave principals, celebrities, and guest stars alone — this is their career. They’re being paid to be on set and it’s not a public appearance.

You could share space with a famous personality during a scene. I’ve exchanged hellos with many notables, and that’s it. I’d like to think that I’m a fellow actor who is here to assist them with their TV show or movie.

I’ve watched other background actors try to get chummy with celebrities. I’d advise against this behavior. Ditto for selfies and autographs. They’re frowned upon, discouraged, and unprofessional.

I witnessed a stage-mom enter the off-limits zone of the set, and snap a photo of her son (a background child actor) with a major star. The celebrity actor obliged and was cordial about it.

When the mother was cornered by an AD (Assistant Director) and a pair of PA’s, she grew defiant. Too late now, get over it, was her attitude.

The AD and PA’s told this woman it better not happen again, or else. They made it clear that she and her son will be excused from the production and all future consideration by this casting agency. She got the point. Kudos to them for not punishing the boy, but the mother was warned.

On another shoot, I overheard an extra speak to a principal actor in between takes. While heading back to our ones, this background actor approached the star of the show.

Who knows what an actor’s process is? This principal had lines to deliver, marks to hit, and beats to reach. All this, while corresponding and collaborating with the show’s director. The last thing the guy needs is to be distracted.

To stress the point it was an asinine question. “Hey man, where are you from?” Are you kidding me? Google it, Joe Fool.

22. Working With and Around Fellow Extras

On every set, there’s a segment of background actors who treat it like a payday. Others have years of acting experience and higher aspirations. The rest are somewhere in between and undecided.

That’s reality. The production’s objective is to find a way to make it all work. It’s our job as extras to help them satisfy and complete their shooting schedule. All the other stuff, including your acting ambitions or lack thereof, is put on hold.

There’s never an excuse to mail it in. To be careless, thoughtless, and apathetic. On other job sites, these attitudes could cause harm and injury. Sometimes worse. In ours, it’s time, money, and bad will.

Since becoming a film and TV extra, I do study the background acting I see on television. Actions speak in volumes and do make a difference. The players that perform in the pocket remain the most natural and convincing. Subtle performances that reveal and show purpose. (It’s also a gas to spot my friends and fellow colleagues on TV).

Get in the moment and stay there. You’re on set and it’s your job. Savor it. I have my own personal motto that I’ve uttered on every set to one extra or another: This job beats working for a living.

The days are long and the actions repetitive. At times you’ll feel like you’re being taken advantage of, disrespected, and treated like cattle. It is what it is. I’m not here to sugarcoat the experience.

I still have moments when I get upset and feel like telling somebody off. The lack of adequate bathrooms, a more comfortable holding, and satellite area to name a few.

There are times when production teams speak at us instead of to us and it’s unsettling. I’d like to think that the hired background arrives on set to perform and help the production.

Many extras have higher acting aspirations. They love being involved and included. They also take pride in this vocation — their opportunity to perform and contribute.

To be fair, most production teams I’ve worked with practice the golden rule. Others don’t and such is life. Take it in stride. Don’t get rattled by it and remain focused.

23. Competition Over Screen Time

“Acting is not a competition. Everything must be done for the good of the production or else everyone loses.” — Michael Caine

Productions are never about the background actor. We’re table setting and church flowers. In terms of the pecking order, the lower end of the totem pole.

The primary objective of the background actor is to concentrate on their scene at hand. To support the production and to help them tell their story. To bring the script to life and make their scenes realistic. Day players and guest names are hired to make the stars of the show shine. It’s the domino effect with all involved.

I’ve seen background actors get elevated to a featured extra over their presence, persona, and costume. The director will put them on camera to get their reactions to a dramatic moment or have them placed next to a principal actor. It’s a cool thing to witness and I’ve had it happen to me on occasion. It’s a moment in the sun and nothing more.

Whenever I encounter fellow extras more concerned with standing out and hogging the camera, I back off and let them have it. Who expects an audience member to take their eyes off of the stars, action, and essence of the scene to follow that fascinating extra instead?

Jockeying over screen time is both a futile and fruitless cause. It’s up to the editors to piece this coverage together. To shape the performed script into a coherent story. To reach the themes and tone of this TV show.

A show that’s being written, produced and acted by talented people. Ditto for the rest. The camera, sound, and lighting crews. The set and costume designers. The post-production teams of editors and sound mixers. The musical ensembles to full orchestras hired to score the soundtrack.

There are others who have been on this project from its conception. The pitch sessions, pre-production meetings, re-writes, auditions, and rehearsals. People who will remain through the project’s completion after every extra is long gone.

Most of these shows are supported by a loyal audience, global advertisers, and a major network. Anonymous others behind the scenes with more at stake and skin in the game. All this vision, ambition, and effort has been in place before any background actors were booked and showed up on their set.

Stay in line, do your job. Of course, it’s a rush getting on TV and snagging screen time at the multiplex. I get it — I’m in on it too.

I’d like to think that our priority is not to get on television. Those are the fruits of the labor and added perks. The extra’s focus should be to help the production meet their needs and reach their goals.

To help production present their show. To allow our choreography and performance as background actors to support their story. To give the audience, advertisers, and networks what they’re paying for.

I’ve seen dynamo stuff from background actors on major productions. Actions, reactions, and movements with no spoken words. Stuff baked on the spot by being in character and locked into the moment.

It’s invigorating when scenes are played instead of planned. Natural, honest, and organic acting is stellar to watch. You can’t help but feel something.

If these moments are left behind in the editing suites, they’re never lost on production. Believe me, the bigwigs are watching. You won’t hear about it, but they appreciate it.

24. Going Off-Script and Other Doozies

Now and then fellow extras will disregard direction and their job description. Like the time my scene mate followed the camera around the set, you know, to get his mug on TV.

As tourists, we were directed to walk around and take pictures. Instead, my scene partner followed the lens instead of allowing the lens to find and follow him.

For the most part, ignore the camera’s placement. You might want to see where it is (or they — on TV sets, there’s often multiple cameras), as to not stare into the lens.

Looking directly into the camera is one of the production’s pet peeves and will compromise the shot. If you need to turn and face the camera, look to either side, above or below it. The idea is for the camera to watch and not be seen.

Perform the scene the best that you can, take after take. Do this and you’ll get on TV. If not? It’s the breaks of the game. Following this advice will make you better and more refined. As a person, a professional, and an actor. How do you like that up and at ‘em? Booyah!

Choreography is storytelling. It’s mindful and created with a purpose. You’re not walking through a train station or a shopping mall to fill up the screen. You’re a person commuting to and from their job, picking out a gift, meeting friends for drinks and dinner.

Willem Dafoe never looks for the camera. He doesn’t care — he knows it’s there, somewhere. Willem’s only concern is with his craft. Is his acting the best it could be?

That’s right. You heard it from one of the greats — not some face-in-the-crowd, non-union background actor. I rest my case.

25. Pantomime and Omega

Sometimes you’ll be asked to repeat your previous movements, but this time in silence. It’s called ‘Pantomime’ and they mean it. If your recent action was conversing with a fellow actor, move your lips, mouth your words, nod your head.

Refrain from whispering. The sound equipment is that strong and sensitive — it will hear it. I can’t begin to tell you how many background actors louse this up.

For whatever reason, they love the sound of their own voice. I’ve seen extras removed from the set since they couldn’t figure out the difference while refusing to listen, learn, and apply.

‘Omega’ is pantomime’s polar opposite. Under this direction, you’ll be asked as a group to cheer and jeer. It’s often a crowded scene — a courtroom, a protest, or a theater. A sporting event, conference hall, or a political rally.

As onlookers and audience members, you’ll be directed to gasp, hiss, clap, or shout. They’ll let you know what types, beats, and levels of crowd noise are needed for the scene.

26. When the Background Wallflower Gets Plucked

“I’m not an actor — I’m a movie star!” — Peter O’Toole from My Favorite Year.

Once in a while, you’ll be asked to do more acting and less standing or walking around. (No dialogue, just specified movements, and actions).

It’s natural to be nervous, yet it’s more natural to be yourself and that’s all you have to do. Play it as a person in a real-life scenario. In most cases, that’s plenty and all they’re looking for. If not, they’ll direct and coach you to move or stand, look in a particular direction, and provide a gesture of sorts.

Production knows you’re a project — at best, a work in process. They don’t expect non-union extras to emerge from the ‘atmospheric smoke’ as Al Pacino and Meryl Streep.

Concentrate, listen and collaborate. It’s all good and getting better. Relax and incorporate the direction as if they’re your ideas.

Despite the engineering in lieu of direction, you’ll feel like a million bucks. You’re rocking and it’s all you. Soak it in.

On one set, the director showed me exactly how to stand. He didn’t have the time and patience for this non-union actor to give him my version of a posture. I copied the director’s example to a T. We shot one take, the director seemed pleased, and I felt awesome.

27. The Featured Extra

The fun stuff and magic time. As pointed out earlier, you might get some solid screen time as an extra.

The other way is to be booked as a Featured Extra. It happens on larger scaled productions, yet common on smaller and more intimate sets. Sometimes, with speaking lines. It may not be scripted, but often improvised on the spot.

These include re-enactments for docudramas and theme-based television. Investigation Discovery, the History Channel, CNBC, to name a few.

The scenes are often a few to a handful of actors. They’re great fun and excellent opportunities.

The director might decide then and there that she’d like your character to speak a few lines. Collaborate — everybody wants it to work and together you’ll find a way.

You might share a scene and dialogue with another actor portraying a famous or infamous figure from history. On criminal re-enactments, the police team raiding the gang’s hide-out. The prison guard alerting the death row inmate it’s time for his execution.

These shows provide promising exposure with handsome audience numbers. Your performance in them could also be added to your acting reel.

28. Core Background

Core Background is a terrific opportunity for steady work. The casting agency will send an availability check. They’ll explain the role, projected dates, and that you’re being considered.

A production that requires extras to populate a workplace and other common settings. As in real-life, the colleagues, neighbors, and familiar people found in the day-to-day lives of the principal characters.

It usually means multiple work dates. I’ve heard of two to five days per week for the duration of the shoot.

Some weeks they’ll need you less, or not at all. If so, feel free to book work on other productions.

A core background spot is expected to be your priority and as usual, production schedules change and change often. This isn’t the proverbial parade rain, just a reminder.

Enjoy and savor it. Make it work, have fun. Kudos to you and good luck!

29. Stood Up and Dumped

Now and then you’ll get bumped from the production schedule. It happens. You’ll get a text like this one: Hey there! It looks like tomorrow’s production won’t be going as planned and we won’t need you. Feel free to book other work.

To be frank, I didn’t care for this message nor its jovial tone. Not to mention hours from the booking and information notice.

Or an email:

Production has changed our schedule for Monday. They have cut our numbers and we will not be able to use you. We just got this update so this is the soonest we could let you know.

We apologize for any inconvenience and do not have any tentative rescheduling date right now.

Like me, you probably turned down work that is no longer available since you honored these original bookings. It’s all part of the industry. Make the most of it by searching for new roles. Isn’t that what unemployed actors do?

I can’t tell you how many times these Hit the road, Jack’s have paid dividends with better opportunities. Able to respond within moments of a job’s listing, I often got it.

30. Rush-Calls

On days you’re looking for work and checking your inbox, you’ll get used to these high alerts. A production that you likely applied for and didn’t get is seeking your services after all. Cancellations by booked actors and or, a need for additional extras have created this sense of urgency.

It’s the first responders who get booked until the casting agents reach their numbers. It’s no different from the standard booking procedure with the added scrambling and compressed time frame.

If you could be on location and camera-ready by the specified time, let them know.