I don't qualify, but you may. Boston Casting is looking of unattached men and women for a new reality television show called "The Spachelor" (silly pun on spatula and bachelor?). Here are the details and, while you're at it, why not sign up (for free) for Boston Casting or any of the other casting agencies in this area (links on this site).
Special Instructions:
We are CHECKING AVAILABILITY for single men who like to cook and beautiful single women who would like to have dinner cooked for them for an exciting new reality show THE SPACHELOR. Non-Union Only.
You need to be available on Friday, July 31 as well as 3 days either the week of August 11 or August 18.
Shoot takes place in the guy’s home, so we will need photos of the kitchen, and dining room or living room.
Please sign up only if you are available during this time period. If chosen, someone will be in contact with more details. (617 254-1001)
Thursday, July 30, 2009
Monday, July 20, 2009
'Frenchy' Chevalier
The movie "The Fighter", starring Mark Wahlberg as former Welterweight champion Micky Ward, has moved on to shoot scenes from Ward's early days when he trained at Arthur Ramalho's West End Gym on Lawrence Street in Lowell, Massachusetts - which is still operating (though the old mill building it is located in is in rough shape). Standing on Lawrence Street you can see some of the sophisticated technical equipment required to produce even a realistic fight film: massive, mobile air exchange systems circulating the air around the old mill's crumbling timbers, racks of powerful outdoor lights, filters, and reflectors to provide ample 'natural' light, and dozens of support people in 
constant motion as they try to provide the crew and cast with everything -and anything they might require (including the best 'porto-potties' money can buy). For the training scenes at the West End Gym a full complement of extras was required to create the illusion of a crowded training facility: boxers young and old, trainers, hangers-on, and the cops who knew Micky and his brother all too well in those early days. There is still a lively boxing scene in Lowell, so the producers didn't have to look too far to find skilled pugilists: in fact many roles went to trainers and boxers who knew Ward intimately, or who are fixtures in the Lowell boxing scene today. One such individual is the well-known Master class boxer, Frankie 'Frenchy' Chevalier, (pictured above) who has trained at West End for many years. Of course the question then arises: is it better to have authentic characters with no acting skills or interest, or to use trained actors for these small but important 
roles? Frenchy readily admits he's doing it for the excitement of being in a movie - and doesn't care that he's passing up a potentially lucrative few days of extra pay. While all around him are people making a living from what they do on the set: camera operators, makeup artists, production assistants, food service workers, van drivers, truck drivers, electricians, mechanics, security guards and others. A film set is an unusual mixture of well-paid blue-collar craftsmen, highly paid actors, barely paid extras, and 'camp followers'. It is likely that many of the electricians and 'gaffers' on the set were, at one time, drawn to the work by their interest in the movies. But clearly, the demands of the work don't leave much time for gawking at the 'stars'. It is unlikely that any of the 'camp followers' will find themselves with a role to play - but then they seem content with their lot. And then there are the rest, dancing on the edge of respectability, looking to leverage an appearance as background into a walk-on with a few lines, into...
constant motion as they try to provide the crew and cast with everything -and anything they might require (including the best 'porto-potties' money can buy). For the training scenes at the West End Gym a full complement of extras was required to create the illusion of a crowded training facility: boxers young and old, trainers, hangers-on, and the cops who knew Micky and his brother all too well in those early days. There is still a lively boxing scene in Lowell, so the producers didn't have to look too far to find skilled pugilists: in fact many roles went to trainers and boxers who knew Ward intimately, or who are fixtures in the Lowell boxing scene today. One such individual is the well-known Master class boxer, Frankie 'Frenchy' Chevalier, (pictured above) who has trained at West End for many years. Of course the question then arises: is it better to have authentic characters with no acting skills or interest, or to use trained actors for these small but important 
roles? Frenchy readily admits he's doing it for the excitement of being in a movie - and doesn't care that he's passing up a potentially lucrative few days of extra pay. While all around him are people making a living from what they do on the set: camera operators, makeup artists, production assistants, food service workers, van drivers, truck drivers, electricians, mechanics, security guards and others. A film set is an unusual mixture of well-paid blue-collar craftsmen, highly paid actors, barely paid extras, and 'camp followers'. It is likely that many of the electricians and 'gaffers' on the set were, at one time, drawn to the work by their interest in the movies. But clearly, the demands of the work don't leave much time for gawking at the 'stars'. It is unlikely that any of the 'camp followers' will find themselves with a role to play - but then they seem content with their lot. And then there are the rest, dancing on the edge of respectability, looking to leverage an appearance as background into a walk-on with a few lines, into...
Dealing with Rejection..
Yes, you've faded a bit: that lustrous, deep maroon exterior has taken on a ruddy, mature tone. And no, the old pipes aren't what they used to be: there's a rattle to your 'voice', and a rumbling from somewhere deep within. But they must have seen something, otherwise they wouldn't have asked you to audition. There are still appealing aspects to your overall construction: your interior is in surprisingly good shape, your veneers as appealing as ever. So what that they chose another... vehicle.
Don't let it get you down. You're a year or two from antique status: you can proudly call yourself a classic. Your original owner doesn't drive anymore, but the son-in-law that inherited you isn't embarrassed to take you out for a spin.
You didn't get the part, but that's probably because you looked too good for your age. Did you notice 'who' they chose? That old, rusted K-car with the stuffing come out of the upholstery and the strange smell emanating from the trunk. They weren't looking for good looks, they were looking for a car that makes the star look good by comparison. You were technically the right age, but you just look too good to be 23!
Remember: the movie is called The Fighter, so they needed a car that looks like somebody gave it a good beating.
(My 1986 Toyota Camry had a tryout for the Mark Wahlberg film, The Fighter, which has been filming in Lowell, Massachusetts for the past two weeks or so. It came down to nine vintage vehicles, but my maroon beauty didn't make the final cut)
Don't let it get you down. You're a year or two from antique status: you can proudly call yourself a classic. Your original owner doesn't drive anymore, but the son-in-law that inherited you isn't embarrassed to take you out for a spin.
You didn't get the part, but that's probably because you looked too good for your age. Did you notice 'who' they chose? That old, rusted K-car with the stuffing come out of the upholstery and the strange smell emanating from the trunk. They weren't looking for good looks, they were looking for a car that makes the star look good by comparison. You were technically the right age, but you just look too good to be 23!
Remember: the movie is called The Fighter, so they needed a car that looks like somebody gave it a good beating.
(My 1986 Toyota Camry had a tryout for the Mark Wahlberg film, The Fighter, which has been filming in Lowell, Massachusetts for the past two weeks or so. It came down to nine vintage vehicles, but my maroon beauty didn't make the final cut)
Sunday, July 19, 2009
The Space of Loaf
One of the acting life's greatest joys is the discovery that you will rarely, if ever, do the same thing twice. Not for you the daily 9 to 5, soulless regimen of repetitive drudgery! Why do you think our trade newspaper is called Variety? The clever actor will find ways to enhance and even expand upon this career advantage. Here are some tips on
How to Make Sure You'll Never Work Anywhere More Than Once
1. Preparation, schmeparation: "A good night's rest," before a job, is overrated. Instead, celebrate your good fortune in finally securing a film role by drinking heavily with your friends the night before. This will "relax" you for the coming day's work, and give you that sexy "just tumbled out of bed" look that you see really big stars sporting on talk shows. In the morning, dress with no particular care -- that's what the "wardrobe" crew is for! Just wear whatever you slept in, if you've slept at all.
If you're lucky enough to have "lines," remember that these are just suggestions as to what you might actually say on camera. By no means bother to memorize them! All writers are hacks, anyway. Directors know this, and will be much more impressed by your ability to "paraphrase" and "improvise." You will be expected to "improve" upon your lines, anyway, which leads to our second tip,
2. Drawing attention to yourself: Your first task upon appearing on the set is to establish the extraordinarily high nature of your own worth. Here's where all those self-esteem lessons you learned in middle school come in handy! Arrive late, or barely in time -- having to wait for you will excite anticipation and make your entrance much more dramatic and noteworthy.
There's a reason you and other actors are collectively referred to as "Talent" -- you may assume, by implication, that everyone else involved in the project is not. Complain loudly and frequently about delays caused by crew set-ups, lighting and sound logistics, props problems, etc. Denigrating the competence of everyone else on set makes you seem smart by comparison, and assures everyone of your high standards.
Shortly before it seems the shot will actually begin, elbow your way to the director and pepper him with arcane questions about your walk-on, two line character. You will impress him by your meticulous devotion to your "craft." This is also a good time to suggest "improvements" to your lines.
3. Etiquette: The behavior that marks you as a seasoned pro may seem counter-intuitive to the novice. For example, when "QUIET ON THE SET!" is barked over the manager's megaphone, by all means finish the conversation you were having with that fellow actor or cute script girl. It's considered rude to leave someone "hanging" in the midst of relating one of your fascinating insights or stories merely because shooting has begun.
Speaking of relating to fellow artists -- many modern films include scenes in which actors are called to be in various states of deshabille. As a bonus, these cast members usually are extraordinarily attractive. Most will, in fact, have spent considerable recent time in the gym, preparing for this very moment! True, they have been put in such position solely for professional reasons to do with the demands of the script, but that's no reason for you not to interpret their displays of firm, supple flesh as invitations to hit on them. If they didn't want you to try to have sex with them, why in hell did they show up so damned good-looking? It's not your job to observe the same polite deference shown them by the crew. Walk right over and compliment them suggestively on their physical attributes, perhaps making imaginatively graphic offers of what you'd like to do to them. They might be flattered! If not, everyone is still sure to admire your opportunistic devotion to self-gratification while ignoring others' sensibilities -- a quality every actor needs to succeed in this highly competitive business -- as well as the creativity of your suggestions.
4. Lunchtime! Again, your chance to "shine." Shove your way to the front of the catering-truck queue, even if you've worked only five minutes and others have been toiling since dawn. Pile as much on your tray as it will hold, then stuff as much more as you can in your pockets (a baggy coat is useful for this -- sometimes I'll bring an empty bass viol case). Everyone knows about "starving actors" -- others will admire your foresight and thrift.
5. Hail Fellow Well Met: Humor is important in breaking the tedium of a shoot. With the tension caused by trying to make optimal use of every second of time while millions of dollars are gushing through the production pipeline, any "comic relief" will be welcome. Let those wisecracks fly as soon as they occur to you, no matter what else is going on! Most actors began as "class clowns," we know.
Plus, hilarious stories of your best "pranks" are perfect for your inevitable appearances on "Letterman." One of my favorites: scream "CUT!" just before it seems the director is about to at the conclusion of a long, involved continuous shot. Another: make a point of picking up and playing with other actors' props, especially firearms, especially moments before they are needed. Be sure to replace them -- somewhere other than where you found them! Your hijinks will be remembered for years to come.
If you follow these hints, you are assured of enjoying a rich "Variety" of jobs, without the constraints of repetition or boredom. It's true, you may get fired each time -- so what? List the credit on your resume anyway! In fact, you are expected to lie profusely concerning your credits. So what if you didn't actually "co-star with Russell Crowe in Gladiator?" Who's to find out? It's not like any of the people working or hiring in this business actually know each other.
How to Make Sure You'll Never Work Anywhere More Than Once
1. Preparation, schmeparation: "A good night's rest," before a job, is overrated. Instead, celebrate your good fortune in finally securing a film role by drinking heavily with your friends the night before. This will "relax" you for the coming day's work, and give you that sexy "just tumbled out of bed" look that you see really big stars sporting on talk shows. In the morning, dress with no particular care -- that's what the "wardrobe" crew is for! Just wear whatever you slept in, if you've slept at all.
If you're lucky enough to have "lines," remember that these are just suggestions as to what you might actually say on camera. By no means bother to memorize them! All writers are hacks, anyway. Directors know this, and will be much more impressed by your ability to "paraphrase" and "improvise." You will be expected to "improve" upon your lines, anyway, which leads to our second tip,
2. Drawing attention to yourself: Your first task upon appearing on the set is to establish the extraordinarily high nature of your own worth. Here's where all those self-esteem lessons you learned in middle school come in handy! Arrive late, or barely in time -- having to wait for you will excite anticipation and make your entrance much more dramatic and noteworthy.
There's a reason you and other actors are collectively referred to as "Talent" -- you may assume, by implication, that everyone else involved in the project is not. Complain loudly and frequently about delays caused by crew set-ups, lighting and sound logistics, props problems, etc. Denigrating the competence of everyone else on set makes you seem smart by comparison, and assures everyone of your high standards.
Shortly before it seems the shot will actually begin, elbow your way to the director and pepper him with arcane questions about your walk-on, two line character. You will impress him by your meticulous devotion to your "craft." This is also a good time to suggest "improvements" to your lines.
3. Etiquette: The behavior that marks you as a seasoned pro may seem counter-intuitive to the novice. For example, when "QUIET ON THE SET!" is barked over the manager's megaphone, by all means finish the conversation you were having with that fellow actor or cute script girl. It's considered rude to leave someone "hanging" in the midst of relating one of your fascinating insights or stories merely because shooting has begun.
Speaking of relating to fellow artists -- many modern films include scenes in which actors are called to be in various states of deshabille. As a bonus, these cast members usually are extraordinarily attractive. Most will, in fact, have spent considerable recent time in the gym, preparing for this very moment! True, they have been put in such position solely for professional reasons to do with the demands of the script, but that's no reason for you not to interpret their displays of firm, supple flesh as invitations to hit on them. If they didn't want you to try to have sex with them, why in hell did they show up so damned good-looking? It's not your job to observe the same polite deference shown them by the crew. Walk right over and compliment them suggestively on their physical attributes, perhaps making imaginatively graphic offers of what you'd like to do to them. They might be flattered! If not, everyone is still sure to admire your opportunistic devotion to self-gratification while ignoring others' sensibilities -- a quality every actor needs to succeed in this highly competitive business -- as well as the creativity of your suggestions.
4. Lunchtime! Again, your chance to "shine." Shove your way to the front of the catering-truck queue, even if you've worked only five minutes and others have been toiling since dawn. Pile as much on your tray as it will hold, then stuff as much more as you can in your pockets (a baggy coat is useful for this -- sometimes I'll bring an empty bass viol case). Everyone knows about "starving actors" -- others will admire your foresight and thrift.
5. Hail Fellow Well Met: Humor is important in breaking the tedium of a shoot. With the tension caused by trying to make optimal use of every second of time while millions of dollars are gushing through the production pipeline, any "comic relief" will be welcome. Let those wisecracks fly as soon as they occur to you, no matter what else is going on! Most actors began as "class clowns," we know.
Plus, hilarious stories of your best "pranks" are perfect for your inevitable appearances on "Letterman." One of my favorites: scream "CUT!" just before it seems the director is about to at the conclusion of a long, involved continuous shot. Another: make a point of picking up and playing with other actors' props, especially firearms, especially moments before they are needed. Be sure to replace them -- somewhere other than where you found them! Your hijinks will be remembered for years to come.
If you follow these hints, you are assured of enjoying a rich "Variety" of jobs, without the constraints of repetition or boredom. It's true, you may get fired each time -- so what? List the credit on your resume anyway! In fact, you are expected to lie profusely concerning your credits. So what if you didn't actually "co-star with Russell Crowe in Gladiator?" Who's to find out? It's not like any of the people working or hiring in this business actually know each other.
Friday, July 17, 2009
Fodder Figure
I thought I had returned from the Wannabeeinamoviekiddo experience with my pride intact, but that was before I read RedBaboons' expose (just below). Now I'm checking to see if I am missing any body parts.
Truthfully, the overall experience was what I expected - mainly boredom, punctuated by physical discomfort, with the occasional breath of fresh air (mainly when I snuck out of the Tsongas Arena in Lowell where they were filming fight scenes for
The Fighter for a little actual fresh air). But I also was up close and personal on the set, could hear the director's comments to the lead actors (Mark Wahlberg, Amy Adams, Jack McGee), and was asked to pantomine my reactions to the same few scenes filmed over and over from every possible angle.
To some small degree I acted in a movie, though I can't say for sure if I was ever on camera.
I don't want to bite the hand that fed me, but as regards Beinamovie.com, Red Baboon is pretty much on target. I may be just that more cynical than RB however, as my sense is that 99% of the people who respond to Beinamovie.com, just want to be up close and
personal with their favorite stars: they want to be exploited. I would also say that- to a certain degree, Beinamovie.com is filling a real need for productions like The Fighter. There were probably 1000 volunteer extras in the stands on the day I was 'on set', and though they were given drinks, snacks, and a Subway lunch - that was probably a far less expensive option than paying for even non-union extras. It is also important to note that there were also at least 100 SAG (union) extras on set that day.
------but let me provide a chronology of my day, for those of you with less experience than Red Baboon.
On the plus side, being one of the Beinamovie 'invitees' meant free parking near the arena, and very little waiting before we were ushered inside (unlike many other cattle calls where you wait in line for hours only to be quickly dismissed). On the negative side, it is a cattle call: from the moment you arrive you are herded into pens, then herded down a path, then herded into seats, and so on. As Babboo suggests, no matter what your role, it is probably always smart to bring a book (or knitting) to a movie set. I brought two books, reading glasses, bottled water, a banana, a granola bar, a pen.. and I ate them all.
But don't be so prepared to wait, that you forget why you are there in the first place ('for the experience', remember?).
If you are not content with being part of the herd, don't just sit where they say and wait to be told what comes next. If you really want to get more out of this than just a glimpse of a so-called star, than as soon as you walk through the door you should begin to suss the situation.
What was clear to me from the outset, was that extras were going to get a chance to get down on the floor, and into the movie. To my credit I had tried to dress appropriately (donning an old zippered sports coat (think 'Members Only') that would look right for the time period (late 1980's), along with a button-down shirt, tie, beige khakis, brown shoes.
I had not realized though that the fight scene being filmed this day had actually taken place at Caesar's Palace in Las Vegas (I should have done more research). Had I known the locale, I could have tried to emulate the high rollers who are usually in the best seats at Vegas fights, keeping in mind the instructions that no one wear any bright colors or logos.
Still I was dressed somewhat appropriately and - given my age, probably looked like I might have attended such an event. In any case, for whatever reason, I was pulled out of the crowd, and moved to a seat amongst SAG performers (and friends of various crew members) as the actual filming began.
And there I stayed, as the entrance of both fighter's entourages, and three rounds from the famous Sanchez-Ward fight were filmed. What may take up no more than five minutes of the finished production, took 10 hours to film.
It was fascinating to see how the director worked. It was surprising to see how little time was given to setting up each scene, or angle (though perhaps that preparation took place well before I had arrived). There were at least six cameras filming at all times. I got the sense that the real direction would take place when the film was edited. I took at least twenty pages of notes in a small reporters' notebook and, as I had pen and notebook in hand, I decided to adopt the appearance of a sport's reporter on film - pausing as the scenes progressed to hastily jot down notes as to the fighter's appearance, the reaction of the crowd..
I had left at 6:30 that morning, and I was in my car headed home twelve hours later. Maybe there should be a web site called, "Areyousureyouwannabeinamovie.com"?
Truthfully, the overall experience was what I expected - mainly boredom, punctuated by physical discomfort, with the occasional breath of fresh air (mainly when I snuck out of the Tsongas Arena in Lowell where they were filming fight scenes for
The Fighter for a little actual fresh air). But I also was up close and personal on the set, could hear the director's comments to the lead actors (Mark Wahlberg, Amy Adams, Jack McGee), and was asked to pantomine my reactions to the same few scenes filmed over and over from every possible angle. 
To some small degree I acted in a movie, though I can't say for sure if I was ever on camera.
I don't want to bite the hand that fed me, but as regards Beinamovie.com, Red Baboon is pretty much on target. I may be just that more cynical than RB however, as my sense is that 99% of the people who respond to Beinamovie.com, just want to be up close and
personal with their favorite stars: they want to be exploited. I would also say that- to a certain degree, Beinamovie.com is filling a real need for productions like The Fighter. There were probably 1000 volunteer extras in the stands on the day I was 'on set', and though they were given drinks, snacks, and a Subway lunch - that was probably a far less expensive option than paying for even non-union extras. It is also important to note that there were also at least 100 SAG (union) extras on set that day. ------but let me provide a chronology of my day, for those of you with less experience than Red Baboon.
On the plus side, being one of the Beinamovie 'invitees' meant free parking near the arena, and very little waiting before we were ushered inside (unlike many other cattle calls where you wait in line for hours only to be quickly dismissed). On the negative side, it is a cattle call: from the moment you arrive you are herded into pens, then herded down a path, then herded into seats, and so on. As Babboo suggests, no matter what your role, it is probably always smart to bring a book (or knitting) to a movie set. I brought two books, reading glasses, bottled water, a banana, a granola bar, a pen.. and I ate them all.
But don't be so prepared to wait, that you forget why you are there in the first place ('for the experience', remember?).
If you are not content with being part of the herd, don't just sit where they say and wait to be told what comes next. If you really want to get more out of this than just a glimpse of a so-called star, than as soon as you walk through the door you should begin to suss the situation.
What was clear to me from the outset, was that extras were going to get a chance to get down on the floor, and into the movie. To my credit I had tried to dress appropriately (donning an old zippered sports coat (think 'Members Only') that would look right for the time period (late 1980's), along with a button-down shirt, tie, beige khakis, brown shoes.
I had not realized though that the fight scene being filmed this day had actually taken place at Caesar's Palace in Las Vegas (I should have done more research). Had I known the locale, I could have tried to emulate the high rollers who are usually in the best seats at Vegas fights, keeping in mind the instructions that no one wear any bright colors or logos.
Still I was dressed somewhat appropriately and - given my age, probably looked like I might have attended such an event. In any case, for whatever reason, I was pulled out of the crowd, and moved to a seat amongst SAG performers (and friends of various crew members) as the actual filming began.
And there I stayed, as the entrance of both fighter's entourages, and three rounds from the famous Sanchez-Ward fight were filmed. What may take up no more than five minutes of the finished production, took 10 hours to film.
It was fascinating to see how the director worked. It was surprising to see how little time was given to setting up each scene, or angle (though perhaps that preparation took place well before I had arrived). There were at least six cameras filming at all times. I got the sense that the real direction would take place when the film was edited. I took at least twenty pages of notes in a small reporters' notebook and, as I had pen and notebook in hand, I decided to adopt the appearance of a sport's reporter on film - pausing as the scenes progressed to hastily jot down notes as to the fighter's appearance, the reaction of the crowd..
I had left at 6:30 that morning, and I was in my car headed home twelve hours later. Maybe there should be a web site called, "Areyousureyouwannabeinamovie.com"?
Canon Fodder
W. Free's plan to participate as an "unpaid extra" through BeInAMovie.com makes me queasy. It's like wanting to get into the textile industry as a skilled professional, but first agreeing to make Nikes in a Thai sweatshop "for the experience." It's called "exploitation."
Unfortunately, use of the tactic shows signs of beginning to spread in the industry. Here's an example from my area (Baltimore). A large car dealer chain, whose name I won't mention but rhymes with "Barn Axe," recently engaged a local casting agency to shoot a TV commercial. The agency sought "six burly, biker-type men," one of whom was to speak a single line. "Non-union" was specified. The pay offered was a "flat, one-time fee" of, as I remember, around $75 for the day. I may be wrong about the precise amount, but it was well below market rate.
I recently saw the commercial. It's a national, or at least a multi-market regional, spot. The non-speaking actors should have been paid between $150 and $200 -- the guy with the line should have gotten around $800. If the spot runs for a few more weeks, they should also receive residual checks for each time it airs. You can check these rates, which I'm quoting from memory, at the AFTRA or SAG web sites (both unions have jurisdiction over TV spots).
What makes Barn Axe's tactic truly insulting is that payments to "talent" (the industry's term for anyone who appears on camera or speaks in a radio spot) are a tiny fraction of the expense of making and airing a national commercial. Barn Axe is a multi-billion dollar, nationally franchised concern. It can easily afford to pay actors decently -- it simply chose not to in this case. I suspect the company might offer the excuse of "The Economy" (like the sweatshop outsourcers). But their practice is emboldened in part, I'm sure, by the cynical assumption that many people will do almost anything to get on camera, however fleetingly. I don't know anything about BeInAMovie.com, but its title alone suggests this as the prime belief behind its business model as well.
Most beginning actors will do a great deal of unpaid work. I've done lots of it -- it's called "paying your dues," to gain experience, to build a resume, to make contacts. But there are better outlets for this besides feeding a greedy corporate machine. Student films are often a good bet -- so are many low-budget independent films. The newspaper Backstage and the web sites mandy.com and Craigslist are full of ads soliciting actors for these. Often, the roles available are substantial and interesting, and actors are offered copies/footage for their audition reels. Usually you'll at least be fed, even if it's pizza for everyone.
"Extra" work (now customarily called "background") is also fairly easy to get and more widely available than you might think. Central Casting and most other legitimate agencies have separate registries/web sites exclusively to fill background jobs. Non-union, non-speaking actors get from $75 to $100 per day (you are paid, and required to be available, for the whole day even if your scene lasts thirty seconds) on average. Most of your time will be spent waiting around for your shot, so bring a book. This is a different sort of work, as your job is to NOT attract attention to yourself away from the principal actors. You are simply part of the scenery. The idea that you might be "discovered" by some harried director or producer, probably running behind schedule or worried about shifting light conditions, who isn't likely ever to SPEAK to you directly, is a joke. The assistant director or lackey who does speak to you is more concerned with not pissing off the director by wasting time than he is with scouting the crowd for Promising New Talent. Under these circumstances, every second of time equals hundreds of thousands of dollars. You may as well buy nosebleed tickets for a Lakers game in hopes that the head coach, down on the floor, will pause during the final 5 minutes of play to admire your physique and enthusiasm from afar, and be inspired to recruit you on the spot for the team.
Some morning when you have time, tune in the "Today Show" or "Good Morning America." Look at the yawps who cluster outside the studio windows, shrieking and waving "Hello From Michigan!" signs whenever they appear in frame. Do any of them imagine that some producer will pop his head out the door and say, "Bryant Gumble is feeling under the weather today. Would one of you step in for him? You, there -- I like your propeller beanie." That's the position you're in as someone with a "ticket" to "be in a movie" for nothing.
The "experience" you get as a paid movie extra will be just as good as, probably much better than, any you acquire as a "volunteer." And you won't be sending the explicit message that you place no value on your time (so why should anyone else?). And you won't be encouraging exploiters by undermining, in your small way, years of hard-won professional respect and pay schemes negotiated over years by industry talent.
Unfortunately, use of the tactic shows signs of beginning to spread in the industry. Here's an example from my area (Baltimore). A large car dealer chain, whose name I won't mention but rhymes with "Barn Axe," recently engaged a local casting agency to shoot a TV commercial. The agency sought "six burly, biker-type men," one of whom was to speak a single line. "Non-union" was specified. The pay offered was a "flat, one-time fee" of, as I remember, around $75 for the day. I may be wrong about the precise amount, but it was well below market rate.
I recently saw the commercial. It's a national, or at least a multi-market regional, spot. The non-speaking actors should have been paid between $150 and $200 -- the guy with the line should have gotten around $800. If the spot runs for a few more weeks, they should also receive residual checks for each time it airs. You can check these rates, which I'm quoting from memory, at the AFTRA or SAG web sites (both unions have jurisdiction over TV spots).
What makes Barn Axe's tactic truly insulting is that payments to "talent" (the industry's term for anyone who appears on camera or speaks in a radio spot) are a tiny fraction of the expense of making and airing a national commercial. Barn Axe is a multi-billion dollar, nationally franchised concern. It can easily afford to pay actors decently -- it simply chose not to in this case. I suspect the company might offer the excuse of "The Economy" (like the sweatshop outsourcers). But their practice is emboldened in part, I'm sure, by the cynical assumption that many people will do almost anything to get on camera, however fleetingly. I don't know anything about BeInAMovie.com, but its title alone suggests this as the prime belief behind its business model as well.
Most beginning actors will do a great deal of unpaid work. I've done lots of it -- it's called "paying your dues," to gain experience, to build a resume, to make contacts. But there are better outlets for this besides feeding a greedy corporate machine. Student films are often a good bet -- so are many low-budget independent films. The newspaper Backstage and the web sites mandy.com and Craigslist are full of ads soliciting actors for these. Often, the roles available are substantial and interesting, and actors are offered copies/footage for their audition reels. Usually you'll at least be fed, even if it's pizza for everyone.
"Extra" work (now customarily called "background") is also fairly easy to get and more widely available than you might think. Central Casting and most other legitimate agencies have separate registries/web sites exclusively to fill background jobs. Non-union, non-speaking actors get from $75 to $100 per day (you are paid, and required to be available, for the whole day even if your scene lasts thirty seconds) on average. Most of your time will be spent waiting around for your shot, so bring a book. This is a different sort of work, as your job is to NOT attract attention to yourself away from the principal actors. You are simply part of the scenery. The idea that you might be "discovered" by some harried director or producer, probably running behind schedule or worried about shifting light conditions, who isn't likely ever to SPEAK to you directly, is a joke. The assistant director or lackey who does speak to you is more concerned with not pissing off the director by wasting time than he is with scouting the crowd for Promising New Talent. Under these circumstances, every second of time equals hundreds of thousands of dollars. You may as well buy nosebleed tickets for a Lakers game in hopes that the head coach, down on the floor, will pause during the final 5 minutes of play to admire your physique and enthusiasm from afar, and be inspired to recruit you on the spot for the team.
Some morning when you have time, tune in the "Today Show" or "Good Morning America." Look at the yawps who cluster outside the studio windows, shrieking and waving "Hello From Michigan!" signs whenever they appear in frame. Do any of them imagine that some producer will pop his head out the door and say, "Bryant Gumble is feeling under the weather today. Would one of you step in for him? You, there -- I like your propeller beanie." That's the position you're in as someone with a "ticket" to "be in a movie" for nothing.
The "experience" you get as a paid movie extra will be just as good as, probably much better than, any you acquire as a "volunteer." And you won't be sending the explicit message that you place no value on your time (so why should anyone else?). And you won't be encouraging exploiters by undermining, in your small way, years of hard-won professional respect and pay schemes negotiated over years by industry talent.
Wednesday, July 8, 2009
Extras, Groupies, Wannabees and... others
So okay, I've got no pride: I'm going to be an extra on a movie set with a guarantee of no money, no credit, no nuttin.. But honest, I'm not a groupie, or a deluded wannabee. I'm doing it "for the experience". 
It may turn out that this experience is limited, at best, but I'm hoping that I can watch a little of the process, see the real actors at work, and use my age and intelligence to glean valuable insights into what it will take for me to take the next step. Sure, in the back of my mind I am thinking, 'I could be discovered'. They may need a fat-faced, middle-aged, punch-drunk personality like mine, and over a shared energy bar at the back of a non-descript function room those personality traits of mine that most people think are irritating, at best, may be seen as the perfect fit for one little bit that's been added as an afterthought to the scene where Donny loses his lunch just before the epiphany that sets him on the path toward the title. Or not. 
Anyway, I'm going, courtesy of the dumbed-down website called "Beinamovie.com". I signed up (after Boston Casting emailed me), and they called me verifying my attendance. I have two 'tickets' (so to speak) so if anyone wants to join me, first come first served. Email me at Dogd@aol.com, if you're interested. If not, tune in next week to read the riveting story of my day.
It may turn out that this experience is limited, at best, but I'm hoping that I can watch a little of the process, see the real actors at work, and use my age and intelligence to glean valuable insights into what it will take for me to take the next step. Sure, in the back of my mind I am thinking, 'I could be discovered'. They may need a fat-faced, middle-aged, punch-drunk personality like mine, and over a shared energy bar at the back of a non-descript function room those personality traits of mine that most people think are irritating, at best, may be seen as the perfect fit for one little bit that's been added as an afterthought to the scene where Donny loses his lunch just before the epiphany that sets him on the path toward the title. Or not. 
Anyway, I'm going, courtesy of the dumbed-down website called "Beinamovie.com". I signed up (after Boston Casting emailed me), and they called me verifying my attendance. I have two 'tickets' (so to speak) so if anyone wants to join me, first come first served. Email me at Dogd@aol.com, if you're interested. If not, tune in next week to read the riveting story of my day.
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