Background Acting 101: Chapters 31–40

A Field Guide For The Film and TV Extra

31. Production Sets the Agenda, Not the Casting Agency

Every detail and decision must funnel through and be approved by production. It’s the production team who calls the shots and writes the schedule that puts this cog in motion. Without that television show, commercial, or movie, there is no casting agency and roles for the film and TV extra to fill.

Despite this, I’ve witnessed background actors venting over the phone with casting agents. An agitated extra released from the production date or asked to reschedule a booking.

Disruptive and inconvenient for sure, as bills and rent are barking for their money. We’re all on this hamster wheel and I share this dilemma. Blowing off steam might seem healthy, but needs to be directed in the appropriate areas.

Let’s back this up — before we’re booked. Production is in place and ready to roll. The principal talent is rehearsed, the shooting schedule is finalized, and the locations are secured.

Production then contacts the casting agency letting them know in advance of these shooting dates and their need for background talent. The casting agency is hired and entrusted by this production to find these extras and numbers they will need to provide.

At this juncture, the casting agency begins its booking process. They start posting ads while reaching out to talent who might fill these roles from the get.

I’ve had my share of them and it’s a cool feeling when they do it. In the email, you’ll be asked about your availability for a certain role and date. There may be additional dates as well.

In the meantime, any number of things could alter the production schedule. Inclimate weather, script, or location changes. Adding a principal character and notable celebrity to the main cast. A personal crisis or professional commitment with one of the leads or guest stars. You name it — this list goes on.

Background actors are the passengers on this rocket ship. The stars are the astronauts. The bigwigs run the space center and map the flight.

Production will need passengers (extras) for the shoot, but not before then. Keep this in mind when dealing with your casting agency.

What’s a casting agency to do with this revised shooting schedule? If it’s a demanding scene, like an opera, a wedding, or a baseball game, think of all the hours they had to put in to meet production’s requests. It could also involve matching dates, which means all background talent must be available for multiple production days.

They might have to contact upwards of five hundred extras to alert them of the changes while finding out each one’s availability. Many of that booked talent might have to be replaced. A process that appeared completed has to be done all over again under a tighter time frame.

Could you imagine the casting agency telling production that it’s impossible? Inconvenient? Of course not. If so, production would find another casting company and this agency will be out of business.

Not only that, the new casting agency will be pulling talent from the same pool while meeting the same production demands as the previous agency. See where this has been and continues to go?

The show must go on isn’t some folklore axiom. Production, along with its partnered casting agency, will find a way to do so — with or without you and me.

32. You’re an Actor First, Then a Foodie

Everybody loves crafty, the slang term for craft services — the food, beverages, and various goodies known to populate production sets.

Most productions serve breakfast, lunch, and provide two crafty tents on set. One is designated for union, the other for non-union. (I’ll get into the union versus non-union parameters in a future segment).

Let’s not forget that food is fuel and important. However, we’re not here to eat. We’re here to help the production make a television show or a movie.

That’s not to suggest you’re expected to skip meals or wolf down your food. I’m talking about priorities.

When you first arrive at holding for your call time, you will be given a voucher to provide the production office with all of your tax information. Fill this out at once, not after coffee and breakfast.

Most days, you’ll have plenty of time to eat. Once your voucher is filled out, you may be told that you could help yourself to breakfast. Depending on the time frame, you might be asked to see the wardrobe dept.

I’d suggest developing the habit of arriving early. Not only is it professional, but most days you’ll be able to have breakfast before your official call-time. If breakfast isn’t ready, there’s often a coffee station up and running.

I’ve listened to my share of extras whine about catering and it’s tiresome. At my old warehouse job, I received one dinner on the house — a Fourth of July barbecue. The rest of my meals were found in vending machines lining the lunchroom.

Don’t take it for granted. Two catered meals with gourmet desserts and cookies are the norm, and people sneer about it.

I’ve listened to background actors make such a fuss over the food, that they threatened to walk off set and leave the production high and dry. (For the record, it wasn’t the quality, but the lack of variety). Good luck with that attitude.

Most productions don’t mind extras taking away leftover food. That’s how much there often is. If everyone has eaten, who cares?

33. Crafty Visits and Restroom Breaks

Do them while in holding or at satellite holding. Always alert a PA that you need to use a restroom and they will point them out. The same with crafty.

Most PAs have an idea when the background talent in holding will be called. The ones I’ve worked with will often give a ten-minute warning as a heads-up to visit the restroom if needed.

There are times on set that you could use a restroom or make a crafty visit between camera set-ups. Practice discretion. I’ve seen extras hold up production and piss off the wrong people — by excusing themselves from the set without a sense of urgency surrounding their absence.

When you look for yourself on TV, knowing the show, episode, and scene, you will often be disappointed. I can’t tell you how many times I’ve tuned in to see myself as an out-of-focus blob or cut from the scene entirely.

Since it’s commonplace, don’t assume production doesn’t need you. You’re here for a reason. Keep this in mind when using the restroom or snagging a granola bar while on set. Make it snappy or make it wait.

34. Walk-Away Meals

Once in a while, you’ll be on a production that isn’t providing meals. When that happens, it’s called a walk-away lunch. You’ll get an hour to leave holding to get something to eat on your own if you choose.

Production may or may not provide a stipend (an extra $10.00-$15.00 added to your paycheck) to cover your lunch or dinner. I’ve had a number of them myself. Productions that didn’t provide a stipend, didn’t shoot late and did provide a crafty tent with snacks and drinks.

Others added stipends due to the holding location. There wasn’t enough space in the room to handle the number of people on those days. They were nice about it and did provide a hearty breakfast earlier with plenty of time and food.

In my experience, walk-away meals are often implemented on evening shoots that don’t plan on going overnight or too long after midnight, if that.

Union regulations stipulate that meals must be served within six hours of a union member’s call-time. It’s more common on overnight shoots to have just one meal. In lieu of an initial buffet, they might provide snacks and a sit-down dinner later on.

35. When’s Payday? Glad You Asked. When They Get Around to It.

Another detour in this off-road nine-to-five is that nugget called direct deposit. I’m sure the industry will get around to it, but don’t count the money until it shows up.

Since doing background, I’ve yet to be stiffed. That said, I’ve had to wait for some checks while others came in sooner. I’ve received pay stubs anywhere from one week to five, or six.

I’d refrain from contacting the accounting department that is found on your voucher until it approaches one month. I never liked being the squeaky wheel — that pain-in-the-ass who’s always looking for his money.

You might disagree and be the type of person who calls right away. Kudos to you. Background Acting 101 isn’t a bible — it’s a field guide. (Whatever pointers you could improve upon, feel free to let me know in the comments to help others).

On a recent production, we waited almost five weeks for our checks. A fellow extra phoned the payroll offices looking for his. They weren’t too helpful. They told him everyone has been waiting and no one has yet to be paid.

36. Union Versus Non-Union: Back Of the Bus, Chuck

The distinctions are immediate. Production sets are union-organized and controlled. As a non-union background actor, I’ll address the other aspects further in this chapter.

Union crew and union background actors get the perks. First to break, first in the food lines, first to check out. They’re also first in line for wardrobe and transport shuttles.

I’ve seen my share of union extras get carried away with this stuff. If they want to believe they’re more talented and important, so be it.

Many union actors consider themselves more legit, committed, and professional. Many are and just as many aren’t. What difference does it make?

On the set, before rolling cameras, we’re all background actors designated for our roles. Do you think the viewer gives a rip over union status? There are no chat rooms or focus groups full of audience members asking these questions or showing such concerns.

It’s our jobs, despite our union or non-union status to work as a team. To respect and support one another.

37. The Voucher Quest, Joining SAG/AFTRA, and Three Large

At the present time, a non-union actor needs three union vouchers or waivers to become SAG/AFTRA eligible. Like anything else of value, something valuable must be provided in return. The last thing a PA wants to deal with, are non-union extras belly-aching over union waivers for just showing up.

Sometimes a production is in need of something tangible or a service that you could deliver. A specialty or a skill, that when performed, looks real, natural, and convincing. Be on the lookout for such calls. A previous vocation and ability to perform a certain task can earn you a voucher.

They might be calling for children, dogs, and cars. If you could provide your kids, pets, and personal items, you’re bound to get a voucher.

To check your status, you can visit the SAG/AFTRA website and type in your social security number. The results are computed in moments.

Once you have three vouchers, you’ll need $3,200.00 as an initial entrance fee. There are quarterly dues as well. My understanding is that these dues are based on your income and what the union deems acceptable. Not a set percentage or a flat fee.

Union extras earn higher wages, with no guarantee that they’ll work more or less. Union affiliation also provides health coverage and a pension plan. Things that are based on personal needs and require a personal decision.

For every person who joins to further their career, there are folks who join for the security and benefits package. To each their own.

There are opportunities for union actors, such as stand-in work, commercials, and featured extra spots that might not be offered to non-union players based on the SAG/AFTRA affiliation.

There are also upsides to being non-union. There are quotas in place that have been negotiated and contracted with the union. Movie sets need to hire seventy-five union background actors. On TV productions, it’s twenty-five. Both quotas are per day numbers.

The non-union rate is less per hour and without all the penalties that could accrue. Once productions meet their union hiring quotas, most will add the rest with non-union extras.

This is also another way to obtain vouchers. If the production is short their union hires, they are required to hand out the balance to non-union talent. If that film production or TV show is short ten union hires, they must select ten non-union extras as union hires for that production day.

Joining is up to you. I remain undecided since I’m getting plenty of work. Why rock the boat? Why change course?

I could wake up any day and decide that it’s in my best interest to join the union. Again, my best interest — as opposed to yours.

38. Minors, Children, and Stage Parents

For minors and stage parents, entering the game has never been easier. Opportunities for background acting are ongoing for this sector as well.

Weekends, after-school hours, and the summer months remain the most production-friendly. The spring and winter breaks are also busy. Holidays known to close schools may not halt productions (Columbus Day comes to mind).

All minors must be accompanied by one guardian per child (New York State law — others may vary). The ID documents for under-18 extras are usually a minor’s work permit or child performers permit (states may vary), school assignments, and a report card.

Background acting is an opportunity for children and parents to get a feel for the industry. An open look at production, how a set operates while interacting with other kids in a safe, controlled, and mature environment.

We’re all aware of the singing, dancing, and acting investments on behalf of children. Handing over a ransom to coaches who claim they’re industry experienced and connected.

Let’s be honest — this may or may not be for your kids. Background acting is a safer way to find this out. It’s also a healthier means to measure your child’s interest without the expense and pressure of those loaded terms: Talent, artistic, and potential.

Child labor laws are serious and not to be meddled with. Any production that thinks otherwise is only asking for trouble. In NYC, productions could be fined, sued, and shut down for any number of violations.

Once a child’s time on set is about to expire, that child will be wrapped for the day. During my tenure in the industry, I have yet to witness or hear of anything illegal, out-of-bounds, or contested in relation to minors.

For further information regarding children and minors, try contacting your state’s film commission. They should carry that information and have someone in place with who you may correspond.

A web search, YouTube testimonials, or a Facebook group could also be a way to test the waters and receive firsthand information.

39. Excuses Aren’t Reasons — Leave Them Behind

I’m not much of a self-help guru but would like to share a few things. (To prove that I’m a good sport, I’ll be calling out myself as well).

Never excuse yourself from the set without speaking to a PA. They’re accountable for you and your presence.

Once a shooting day wraps, the background actor is free to check out and go home. Not so for everyone else.

With handfuls to hundreds of clothing articles passed out, the wardrobe department needs to account, clean, and get all of their items ready for the next day’s shoot. So do the folks from the props department.

PAs have a challenging job and most are over-worked. For every fourteen-hour day the background actor logs, tack on an additional two-to-four hours for them. It’s also the job of the PAs to make sure the location, even if it’s a production studio, to be tidy — the same way their team found it.

Camera crews have to clean and pack away equipment that is sensitive and expensive to replace. Ditto for the sound and lighting teams.

Sometimes, stuff happens. Like the takes, I goofed during pantomime time, where my whispers killed a scene and forced a do-over. The PA knew who it was, and pointed me out. On another shoot, a peeved AD confronted me.

I approached each guy after the dust had settled and I apologized. I didn’t blow it off and let it go. I faced it, owned up, and remain mindful of not letting it happen again. (Or in my case, again and again, and so on).

On another production, I showed up thirty minutes late for a morning call time. I was cast in a CBS Television show and needed to be in the Greenpoint section of Brooklyn by 6 AM.

CBS didn’t need to know and wouldn’t care, that my previous shoot ended hours before. Nobody knew that I was sleepless and made a valiant effort to report on time. Instead, I was the ‘late guy’.

Situations that you may or may not encounter, but must expect. If you do, learn from them, and don’t let them become habits nor define you. It’s possible and even probable, this faux pas with CBS cost me future work. It’s the breaks and my fault.

I’ve walked through neighborhoods with a lost sense of direction, only to retrace my steps and get back on point. Another day I sat in a church basement mistaking a twelve-step meeting for my holding location. Oops. I hit the bricks looking for the right house of worship.

Lucky for me, I left early enough to absorb these mistakes and still arrive at holding on time — despite following Google Maps and still messing up.

Traffic, transit delays, and Mother Nature. Everyone involved with the production has to face the same stuff and yet, most report on time or are early.

As in everyday life, you’ll encounter sour people on set. Those who vent and voice their complaints. The early call time, the lack of room and comfort in the holding areas. The quality and variety of the food, beverages, and coffee.

All this hot air before they step one foot on set and deliver the goods. To give the production what they’re paying for and why we’re all here. The same people who voice their negativity in between takes and at satellite holding.

Exhibit patience. When production days drag, it’s bound to get beneath the skin of certain people. Frustration often mounts with extras anxious to do something — anything, but sit around. Put me to work or send me home.

Now and then you’ll run into trouble on location instigated by the public. A scoundrel or two could invade the film set and your space.

Never confront these types. They’re often disturbed and in need of attention (parental, professional, or both). Get a PA or a police officer to intervene. In NYC, it’s standard procedure to have NYPD members on set.

You might get other types of pedestrians — tourists and lookie-loos. They’re curious and harmless people who are fans of the show. My experience with them has been fine.

They only want to watch and shouldn’t be discouraged. If they wander onto the set, let them know nicely that they’ve crossed a boundary — most are happy to move. They’ll step out of your space and continue observing. All is dandy.

Sometimes these people aren’t that nice. If so, a PA will see to it, and remove any bogeys — their slang term for stragglers on the set. Never engage or cause a scene. It’s not worth it and it’s not your job.

40. Final Thoughts

Background acting may or may not be for you. You might fall in love with it, or just like it enough to make it part of your life on a weekly, monthly, or once-in-a-while basis. These are my experiences and observations that I hope you will find helpful and supportive.

Thank you for reading this field guide and good luck on your journey. Feel free to drop me a line if you wish to let me know what you found useful and if there’s anything I’ve forgotten.

Warm wishes and happy acting!