This choice piece made into the main section of today's LA Times. Big, bad food companies adultering organic food products, such as guacamole? I'm shocked, shocked that there could be food manipulation in agribusiness.
Try making it yourself.
Thursday, November 30, 2006
Thursday, November 23, 2006
Ontological Nihilists On Set
Hope all the readers of the AAGH are binging on baked poultry and overly-starchy side dishes today and taking the rest of the week off.
Luckily, I got called into set, but, as the old adage goes, “Be careful what you wish for.”
The PA set a few of relatively deep in a scene, just on the edge of frame. No hero shot, but then most background work isn’t.However, just as the cameras and sound were rolling, a loud buzzing sound began to emanate from a woman’s purse on the ground.
It was a damn cell phone going off on vibrate mode!
Since the rest of us knew who the culprit was, we told her to turn off her phone on set. “Oh no, it can’t be mine. No one has my phone number, I don’t give it out.”
Fine. It was a wrong phone number then.
Even after we told her repeatedly to turn it off, she simply refused to it was “her phone” making that buzzing noise coming her purse, on the floor, near her feet.
Thankfully, the gates were good after that take, and sound didn’t make an issue of it.
[By the way, AAGH looks like some type of curse word or anguished cry, but that’s for another post.]
Monday, November 20, 2006
How To Act "Naturally"
There's only been one television series I've made an effort to follow this season - Heroes. So I was pleased to attend a screening tonight at the SAG offices with a Q & A by nine cast members afterwards. Since it's on Monday nights, thought I might miss one episode, but the folks at NBC aren't that mean, so we saw the same episode tonight as everyone else.
The show obviously has a following, and it seemed as if some of the more energized fan base in the union attended tonight. But I and the guy sitting next to me were really surprised to hear about the casting process for those present; most received a callback for their screen test while driving away from their initial audition. One guy was walking back to his car at Universal when he got the call to immediately go over to a wardrobe trailer for a fitting.
Is that rare? You bet. Only one cast member reported having a "normal" experience with his audition. It took him several days to hear back from the producers.
Now a "normal" aspect of background work is that you don't often get to do bona fide reaction shots - that's when you are either asked to express some emotion to actions made by a principal, or interact with them. It all depends on the director and how he/she envisions the shot.
Luckily, for the "regular" gig I work almost every week, this happens a lot, especially with those of us established as regular office people, but sometimes weird stuff happens.
And that's what happened a couple weeks ago.
In one bar scene (now this wacky, screwball comedy), one of the leads vies for the affection, and a date, from a very attractive employee - and so does his archrival, who doesn't stop at hitting on her, or other women in the bar, even after he rips off his shirt to get her attention.
So our 2nd2nd AD told us this hilarious story about the reaction shot that we all thought would survive the cutting room floor.
It was a relatively big call for this show, so holding had lots of background waiting for turnaround shots, etc, most being non-union and new to the show.
When the director changed the scene to include the archrival guy hitting on other women in the bar, he asked the 2nd to "get some nice looking girl."
Therefore, our guy goes marching through holding on a mission to find "the one," and found a young, blonde woman sort of snoozing while waiting to be called to set (don't snicker - we all do it - especially the union folk).
So on set he tells her, "Oh yeah, this actor will come up and ask you something at the end of the scene," but nothing more.
Naturally, when she was waiting to do some pantomiming before the director yelled "cut," she never envisioned having a naked torso guy dancing around in front of her, yelling and singing, "Hey babe, where you from?"
Of course, her eyes popped out of her head at this sight, and the director shouted, "Cut! Print that one! New deal."
She will probably remember it as a somewhat horrible day on set, but I would bet good money her face makes it to Fox TV next year.
PS - In case you always wondered about those crew job terms where in the final credits, Peggy Archer has given a brief summary on her blog. And if you ever do stand in work, you need to know who these people are, since you are helping the DP, CLT (gaffer), and - usually - two camera OPs block the scene.
PSS - Am trying to update this blog before heading out to an early morning call tomorrow with the TV tuned to What About Brian. Great! I finally get to see myself doing a few key crosses and sitting next to William Devane. Funny thing is most of the union background on that call are regulars on the "other" show we work - basically every episode (but more about that when we all learn the airing date). The casting director works both shows, so we were literally picked-up from one set of skins and cast on Brian for a location shot.
The show obviously has a following, and it seemed as if some of the more energized fan base in the union attended tonight. But I and the guy sitting next to me were really surprised to hear about the casting process for those present; most received a callback for their screen test while driving away from their initial audition. One guy was walking back to his car at Universal when he got the call to immediately go over to a wardrobe trailer for a fitting.
Is that rare? You bet. Only one cast member reported having a "normal" experience with his audition. It took him several days to hear back from the producers.
Now a "normal" aspect of background work is that you don't often get to do bona fide reaction shots - that's when you are either asked to express some emotion to actions made by a principal, or interact with them. It all depends on the director and how he/she envisions the shot.
Luckily, for the "regular" gig I work almost every week, this happens a lot, especially with those of us established as regular office people, but sometimes weird stuff happens.
And that's what happened a couple weeks ago.
In one bar scene (now this wacky, screwball comedy), one of the leads vies for the affection, and a date, from a very attractive employee - and so does his archrival, who doesn't stop at hitting on her, or other women in the bar, even after he rips off his shirt to get her attention.
So our 2nd2nd AD told us this hilarious story about the reaction shot that we all thought would survive the cutting room floor.
It was a relatively big call for this show, so holding had lots of background waiting for turnaround shots, etc, most being non-union and new to the show.
When the director changed the scene to include the archrival guy hitting on other women in the bar, he asked the 2nd to "get some nice looking girl."
Therefore, our guy goes marching through holding on a mission to find "the one," and found a young, blonde woman sort of snoozing while waiting to be called to set (don't snicker - we all do it - especially the union folk).
So on set he tells her, "Oh yeah, this actor will come up and ask you something at the end of the scene," but nothing more.
Naturally, when she was waiting to do some pantomiming before the director yelled "cut," she never envisioned having a naked torso guy dancing around in front of her, yelling and singing, "Hey babe, where you from?"
Of course, her eyes popped out of her head at this sight, and the director shouted, "Cut! Print that one! New deal."
She will probably remember it as a somewhat horrible day on set, but I would bet good money her face makes it to Fox TV next year.
PS - In case you always wondered about those crew job terms where in the final credits, Peggy Archer has given a brief summary on her blog. And if you ever do stand in work, you need to know who these people are, since you are helping the DP, CLT (gaffer), and - usually - two camera OPs block the scene.
PSS - Am trying to update this blog before heading out to an early morning call tomorrow with the TV tuned to What About Brian. Great! I finally get to see myself doing a few key crosses and sitting next to William Devane. Funny thing is most of the union background on that call are regulars on the "other" show we work - basically every episode (but more about that when we all learn the airing date). The casting director works both shows, so we were literally picked-up from one set of skins and cast on Brian for a location shot.
Monday, October 30, 2006
Even the lowly get photo doubles....
Last summer, before the series season took off, I was lucky to nab a fitting for a big emmy-winning series, with the promise of a couple workdates when shooting began.
It was only afterwards when I sat down with the key 2nd that I learned they wanted to give me a featured background part (the difference between featured and regular BG roles? If you can recognize yourself on screen, instead of a swoosh in front of the camera, that's kind of featured role).
Nice, but some weeks later I got the call, "Shooting schedule has changed. We'll be in touch."
Eventually they did, some ten weeks later, and when I showed up on set the other guys kept asking, "Hey, where is (Gilan)? And who are you?"
When we got around to filming, it was reshoot and everyone knew where they had been placed the previous week - everyone but me.
And then I learned that I was there to photo double for a fellow backgrounder who couldn't make it that day. Apparently, the two of us look similiar, and surprisingly so from the back of the head.
Consequently, the 1st AD asked me to keep showing the "back of my head" whenever we rolled, which made for some interesting poses (ex: an elevator with everyone looking out, except me, standing with my back to the camera).
Some weeks later, I worked a four camera show, and actually met my mysterious photo double! He had been sick, so couldn't shoot that day, but our heads and hair are close enough for film. He was returning to the other set the next day, so I'm sure that crew had a bunch of laughs about it.
Oh yeah, and when I turned in my wardrobe, they said, "See you soon." Hmm. Ten weeks and used once for somebody else. I think not, and I'm happy to work my other regular shows instead.
It was only afterwards when I sat down with the key 2nd that I learned they wanted to give me a featured background part (the difference between featured and regular BG roles? If you can recognize yourself on screen, instead of a swoosh in front of the camera, that's kind of featured role).
Nice, but some weeks later I got the call, "Shooting schedule has changed. We'll be in touch."
Eventually they did, some ten weeks later, and when I showed up on set the other guys kept asking, "Hey, where is (Gilan)? And who are you?"
When we got around to filming, it was reshoot and everyone knew where they had been placed the previous week - everyone but me.
And then I learned that I was there to photo double for a fellow backgrounder who couldn't make it that day. Apparently, the two of us look similiar, and surprisingly so from the back of the head.
Consequently, the 1st AD asked me to keep showing the "back of my head" whenever we rolled, which made for some interesting poses (ex: an elevator with everyone looking out, except me, standing with my back to the camera).
Some weeks later, I worked a four camera show, and actually met my mysterious photo double! He had been sick, so couldn't shoot that day, but our heads and hair are close enough for film. He was returning to the other set the next day, so I'm sure that crew had a bunch of laughs about it.
Oh yeah, and when I turned in my wardrobe, they said, "See you soon." Hmm. Ten weeks and used once for somebody else. I think not, and I'm happy to work my other regular shows instead.
Thursday, October 26, 2006
Geez, Thank for Your Support....
There's nothing quite like working your tail off on set for 2+ weeks, then finally turning on the laptop only to have a newbie blogger flame you.
I was thinking about putting the Angry Anthropologist on a short-term hiatus when work got busy, but orignally thought against it.
I think it's time to reconsider.
One of the nice things about being a regular on a full-run, or near full-run television series is the constant work and the peculiarity of seeing the same people on set day after day.
That was last week, when we shot a full episode in five days - five days with plenty of OT that kind of burned me out on writing at night. Obviously, this hindered my writing since the vainglorious day of professional background actor last week went something like this:
2 hrs morning LA traffic commute to 20th Century Fox studio
12.5 hrs ave. workday
1 hr lunch
1 hr evening LA traffic commute home
=========================
16.5 hrs total
That leaves a whopping 7.5 hours in the day to wash clothes for matching shot the next day, eat something, and actually try to sleep, and in the battle between blogging and sleep/food, the latter wins out.
On top of that, on Saturday I got to sleep at 12:30 AM, only to get up early, and promising myself a hike trekked up Mnt. Pacifico on the backrange of the San Gabriel Mountains (only 12 miles), rushed down to a wine tasting with friends from high school, then watched the World Series on the couch with one eye proped open to ward of sleep, which I did for much of Sunday.
On Monday? Back to the lot for the start of the next episode. And so it goes. Even as I write this I'm off to a location shot downtown, and expect to be back on the regular gig tomorrow.
Last Friday was also noteworthy in that we worked with a chimp, who I suspect was paid more than the SAG background. For those of us in that scene, we had to negotiate these two conflicting cultural frames:
Trainer: "Don't look the chimp in the eyes - it's a threat."
1st AD: "Be sure to react off the chimp - make sure your eyeline is on the chimp at all times."
Great.
Next time, a story about meeting a fellow backgrounder who I photo-doubled for.
I was thinking about putting the Angry Anthropologist on a short-term hiatus when work got busy, but orignally thought against it.
I think it's time to reconsider.
One of the nice things about being a regular on a full-run, or near full-run television series is the constant work and the peculiarity of seeing the same people on set day after day.
That was last week, when we shot a full episode in five days - five days with plenty of OT that kind of burned me out on writing at night. Obviously, this hindered my writing since the vainglorious day of professional background actor last week went something like this:
2 hrs morning LA traffic commute to 20th Century Fox studio
12.5 hrs ave. workday
1 hr lunch
1 hr evening LA traffic commute home
=========================
16.5 hrs total
That leaves a whopping 7.5 hours in the day to wash clothes for matching shot the next day, eat something, and actually try to sleep, and in the battle between blogging and sleep/food, the latter wins out.
On top of that, on Saturday I got to sleep at 12:30 AM, only to get up early, and promising myself a hike trekked up Mnt. Pacifico on the backrange of the San Gabriel Mountains (only 12 miles), rushed down to a wine tasting with friends from high school, then watched the World Series on the couch with one eye proped open to ward of sleep, which I did for much of Sunday.
On Monday? Back to the lot for the start of the next episode. And so it goes. Even as I write this I'm off to a location shot downtown, and expect to be back on the regular gig tomorrow.
Last Friday was also noteworthy in that we worked with a chimp, who I suspect was paid more than the SAG background. For those of us in that scene, we had to negotiate these two conflicting cultural frames:
Trainer: "Don't look the chimp in the eyes - it's a threat."
1st AD: "Be sure to react off the chimp - make sure your eyeline is on the chimp at all times."
Great.
Next time, a story about meeting a fellow backgrounder who I photo-doubled for.
Saturday, October 14, 2006
My 10,064 ft. Saturday
Sorry for the dearth of posts this month, but I'm burned out from the last two weeks.
First, I worked most of the last two weeks on a tuxedo, fancy ball shoot which entailed both dancing to the same number repeatedly, or sitting for multiple shots pretending to like the person sitting next to you. Long hours, lots of OT, plus the always welcome formal dress pay bump outlined in the SAG Background Contract. (BTW, "formal dress" for men also includes a "white, Palm Beach suit" although I've never heard of a Palm Beach suit casting call.
It's just that the parental units in town took off on a long trip, and asked your truly to help with watering and other domestic chores, less the little green plants die on them. Others, namely my brother, was also asked to assist, but then had a sudden business trip out of state, leaving me to conduct midnight to 1AM watering sessions in my old neighborhood complete in a formal, black tuxedo.
Someone down the block must have been thinking, "Even the burglars are upscale in this part of town."
Then, I got the call last week for a show which I had been offered a featured, regular background role. Nice. Then the CD called and said, "Shooting schedule's changed - I'll let you know." That was more than ten weeks ago. Upon arriving to set, I then learned that I was photo doubling for another backgrounder. The other regulars chimed in unison, "Gee, you look just like [Bob]! You could be brothers!"
Obviously, Bob got the part weeks ago, but no great loss. Starting Monday I'm back on my regular gig, which bodes well for the rest of the shooting season. And for that day? The 1st said, "Be sure not to show your face too much, since you're another guy in this reshoot"
No what about the figure above?
I've been trying to retrace some of the more spectacular hikes in the San Gabriel Wilderness that I did in my youth. Today, with a storm system blowing through the southland, I trekked up Mt. San Antonio, also called Old Baldy to locals. Thirteen strenuous miles, 3,800' elevation gain, but better yet, blustery wind conditions (i.e., 40-50 mph gusts at the summit), with snow! All the way up to 10,064 feet after traversing the Devil's Backbone.
And what was at the summit, apart from a sign - four very cold, yelling Japanese tourists who insisted on having me snap a phone camera image of them, huddled together and beginning to show signs of hypothermia!!!
And I thought I just worked in a weird industry.
First, I worked most of the last two weeks on a tuxedo, fancy ball shoot which entailed both dancing to the same number repeatedly, or sitting for multiple shots pretending to like the person sitting next to you. Long hours, lots of OT, plus the always welcome formal dress pay bump outlined in the SAG Background Contract. (BTW, "formal dress" for men also includes a "white, Palm Beach suit" although I've never heard of a Palm Beach suit casting call.
It's just that the parental units in town took off on a long trip, and asked your truly to help with watering and other domestic chores, less the little green plants die on them. Others, namely my brother, was also asked to assist, but then had a sudden business trip out of state, leaving me to conduct midnight to 1AM watering sessions in my old neighborhood complete in a formal, black tuxedo.
Someone down the block must have been thinking, "Even the burglars are upscale in this part of town."
Then, I got the call last week for a show which I had been offered a featured, regular background role. Nice. Then the CD called and said, "Shooting schedule's changed - I'll let you know." That was more than ten weeks ago. Upon arriving to set, I then learned that I was photo doubling for another backgrounder. The other regulars chimed in unison, "Gee, you look just like [Bob]! You could be brothers!"
Obviously, Bob got the part weeks ago, but no great loss. Starting Monday I'm back on my regular gig, which bodes well for the rest of the shooting season. And for that day? The 1st said, "Be sure not to show your face too much, since you're another guy in this reshoot"
No what about the figure above?
I've been trying to retrace some of the more spectacular hikes in the San Gabriel Wilderness that I did in my youth. Today, with a storm system blowing through the southland, I trekked up Mt. San Antonio, also called Old Baldy to locals. Thirteen strenuous miles, 3,800' elevation gain, but better yet, blustery wind conditions (i.e., 40-50 mph gusts at the summit), with snow! All the way up to 10,064 feet after traversing the Devil's Backbone.
And what was at the summit, apart from a sign - four very cold, yelling Japanese tourists who insisted on having me snap a phone camera image of them, huddled together and beginning to show signs of hypothermia!!!
And I thought I just worked in a weird industry.
Thursday, September 21, 2006
Time-Space Compression On Set
How do you work six days of work over five days? Easy - Do what I did this week.
I was recalled on the regular gig today; only three union backgrounders waiting around for hours and hours. The call sheet indicated that we would be working most scenes, and the key 2nd AD told one of us, "Hope you brought a book."
But, as things happen, they changed the shooting shedule and wrapped us early, just in time to fight rush hour traffic through Los Angeles. Bleh.
And it was on the way back that I got a call from the big casting agency, "Hey, we'd like to know where you are since you are booked to be on show X at this hour." "Woah!" was my reaction, since I had been recalled for show Y that day.
A recalled background actor, you see, takes the highest precedence: If you are established in a scene, and they need to shoot an additional day, casting directors can pull you off other shows, even if booked long in advance, so as not to ruin the continuity of a scene. It's one of the golden rules of the business.
Problem is, the agency recalled on one show, but forgot to take me off the skins (i.e., background actor rosters) on the other show. Whoops! Not my mistake, thank goodness.
Since I was en route home, I said I could work this other show, even with the traffic and a wardrobe bag packed for formal clothes - not what was requested on this gig. "Perfect," he said, and so I turned around and headed back to the westside of LA.
So, I show up "technically" two hours late, but the AD informs me he heard all about it from the CD, so I'm off the hook. In fact, I'm they guy who looks good, since they didn't have to put out a rush call to fill the slot.
And what would that be? Well, it was a four-camera show, so today was rehearsal day, and I'm recalled for the live audience shoot tomorrow. Quick stuff, a simple cross, to be done on tape in front of an audience. Not even close to eight hours either today, or tomorrow.
But, according to union and non-union rules, you get your eight hours mininum in anyway.
Ergo, I'm looking at two full-day union pay vouchers for one hectic day of driving and waiting.
I was recalled on the regular gig today; only three union backgrounders waiting around for hours and hours. The call sheet indicated that we would be working most scenes, and the key 2nd AD told one of us, "Hope you brought a book."
But, as things happen, they changed the shooting shedule and wrapped us early, just in time to fight rush hour traffic through Los Angeles. Bleh.
And it was on the way back that I got a call from the big casting agency, "Hey, we'd like to know where you are since you are booked to be on show X at this hour." "Woah!" was my reaction, since I had been recalled for show Y that day.
A recalled background actor, you see, takes the highest precedence: If you are established in a scene, and they need to shoot an additional day, casting directors can pull you off other shows, even if booked long in advance, so as not to ruin the continuity of a scene. It's one of the golden rules of the business.
Problem is, the agency recalled on one show, but forgot to take me off the skins (i.e., background actor rosters) on the other show. Whoops! Not my mistake, thank goodness.
Since I was en route home, I said I could work this other show, even with the traffic and a wardrobe bag packed for formal clothes - not what was requested on this gig. "Perfect," he said, and so I turned around and headed back to the westside of LA.
So, I show up "technically" two hours late, but the AD informs me he heard all about it from the CD, so I'm off the hook. In fact, I'm they guy who looks good, since they didn't have to put out a rush call to fill the slot.
And what would that be? Well, it was a four-camera show, so today was rehearsal day, and I'm recalled for the live audience shoot tomorrow. Quick stuff, a simple cross, to be done on tape in front of an audience. Not even close to eight hours either today, or tomorrow.
But, according to union and non-union rules, you get your eight hours mininum in anyway.
Ergo, I'm looking at two full-day union pay vouchers for one hectic day of driving and waiting.
Wednesday, September 20, 2006
Late Night, Early Morning
So, the regular gig finally pays off. Worked 12 1/2 hours with wardrobe changes and meal penalties. Many reading this little corner-of-cyberspace blog would hate to work such long hours, but that's what background actors hope for: it's all about the penalties and overtime which can turn one day's work into two, or three day's pay.
Then the agency calls, "You're booked on a four-camera show tomorrow."
A different casting director who hasn't worked with me much. Nice, a good chance to get some feeback to him.
Perfect, that means a day of quick rehearsals, and one day shooting in front of a live studio audience (preceded, as some of you know, by an early-evening freebie bing at the commisary - it's tradition).
Then, a few hours later, another call, "You're recalled on XXXX, per the casting director."
OK, change is the norm in this business. But then I learn that only three backgrounders are recalled - lots of camera time, but a quick turnabout after trying to wash laundry to match clothes for two days of shoots this week.
So, the CD likes us, the 2nd 2nd AD likes us. Feel free to do so until the paychecks pan out.
Then the agency calls, "You're booked on a four-camera show tomorrow."
A different casting director who hasn't worked with me much. Nice, a good chance to get some feeback to him.
Perfect, that means a day of quick rehearsals, and one day shooting in front of a live studio audience (preceded, as some of you know, by an early-evening freebie bing at the commisary - it's tradition).
Then, a few hours later, another call, "You're recalled on XXXX, per the casting director."
OK, change is the norm in this business. But then I learn that only three backgrounders are recalled - lots of camera time, but a quick turnabout after trying to wash laundry to match clothes for two days of shoots this week.
So, the CD likes us, the 2nd 2nd AD likes us. Feel free to do so until the paychecks pan out.
Tuesday, September 19, 2006
Never A Quick Exit....
Rats...
I had a good day on set, a lengthy drive to and from a location shot, went to the gym for a hard two hour workout, then set down to write my previous post and watch some of the premieres, including "Smith," where I worked the wedding reception scene last spring.
Then, the phone rings...
"Hi Stephen, this is xxxx Casting, your call time has been pulled by one half hour tomorrow morning - early."
Yeah, it's 10:00 PM, and that's a relatively early call, thank goodness. Typically, they'll call in the early AM, just in time to disturb you quality-time sleep.
Pushes (meaning later call times), they don't care about, but earlier times, yes. The worst are features (i.e., films) where a call time might be pushed by three to four hours. When you get that call, start driving to set, because they will inevitably ring one to two hours before the new call time with an, "Get to set ASAP!" call.
This means you rush through check-in, wardrobe, then pour yourself a nice cup of coffee because you're going to wait for three to four hours before they actually shoot. But, hey, you're still getting pay.
So, much as in the previous post, learn to be flexible in this biz, otherwise you will be a deflated tennis ball, wacked to and fro across the net.
Welcome to the movie and TV business.
I had a good day on set, a lengthy drive to and from a location shot, went to the gym for a hard two hour workout, then set down to write my previous post and watch some of the premieres, including "Smith," where I worked the wedding reception scene last spring.
Then, the phone rings...
"Hi Stephen, this is xxxx Casting, your call time has been pulled by one half hour tomorrow morning - early."
Yeah, it's 10:00 PM, and that's a relatively early call, thank goodness. Typically, they'll call in the early AM, just in time to disturb you quality-time sleep.
Pushes (meaning later call times), they don't care about, but earlier times, yes. The worst are features (i.e., films) where a call time might be pushed by three to four hours. When you get that call, start driving to set, because they will inevitably ring one to two hours before the new call time with an, "Get to set ASAP!" call.
This means you rush through check-in, wardrobe, then pour yourself a nice cup of coffee because you're going to wait for three to four hours before they actually shoot. But, hey, you're still getting pay.
So, much as in the previous post, learn to be flexible in this biz, otherwise you will be a deflated tennis ball, wacked to and fro across the net.
Welcome to the movie and TV business.
Being Flexible
There are certain adages in this business which help you negotiate the craziness and keep your brain cells intact.
The first is, "you never actually watch the shows you work on, you just collect a paycheck."
How true.
You can tell a newbie backgrounder by the frisson they exhibit when walking on set, "Oh my God! I can't believe I'm working with so-and-so," etc.
They are actually excited about doing crosses behing a big A-lister.
Give me a break.
I've worked long enough now in this industry not to be impressed by that stuff. In the real world, you can tell a backgrounder vet by the following:
1. They want to to know if the crew is good.
2. They want to to know if this gig will get them loads of overtime.
3. They want to know if crafty is noteworthy.
I'm having a wacky week, so pardon the crazy post. First, I go to my season-regular gig on Monday. Wardrobe asks for two complete clothing changes (that's two pay bumps), which also means overtime. After a morning of face-on hero shots with the 1st team, we had lunch, then got the word - "you're all wrapped." Crikey! Where did the OT go?!
No matter, spent valuable time today on a stand-in gig on a yet-to-be-released show with A-listers: Four hours of work for eight hours of pay with mileage and saw a bunch of fellow stand-ins and production friends. It was a nice reunion.
Then, I get the call: You're booked on the season-regular gig for tomorrow with another wardrobe change! Go figure. I'll let you know how it turned out.
The first is, "you never actually watch the shows you work on, you just collect a paycheck."
How true.
You can tell a newbie backgrounder by the frisson they exhibit when walking on set, "Oh my God! I can't believe I'm working with so-and-so," etc.
They are actually excited about doing crosses behing a big A-lister.
Give me a break.
I've worked long enough now in this industry not to be impressed by that stuff. In the real world, you can tell a backgrounder vet by the following:
1. They want to to know if the crew is good.
2. They want to to know if this gig will get them loads of overtime.
3. They want to know if crafty is noteworthy.
I'm having a wacky week, so pardon the crazy post. First, I go to my season-regular gig on Monday. Wardrobe asks for two complete clothing changes (that's two pay bumps), which also means overtime. After a morning of face-on hero shots with the 1st team, we had lunch, then got the word - "you're all wrapped." Crikey! Where did the OT go?!
No matter, spent valuable time today on a stand-in gig on a yet-to-be-released show with A-listers: Four hours of work for eight hours of pay with mileage and saw a bunch of fellow stand-ins and production friends. It was a nice reunion.
Then, I get the call: You're booked on the season-regular gig for tomorrow with another wardrobe change! Go figure. I'll let you know how it turned out.
Tuesday, September 12, 2006
Be Careful What You Wish For...
Last week was great - a full four days with overtime on two gigs (one is a regular - I'm on almost every episode for the season, the other was new).
And being back on a soundstage was a nice bonus. See, just before the holiday weekend, I did a location shoot out near Palmdale. It was sunny, and over 100 degrees, which isn't bad in and of itself, but when you're the featured person that day, playing with kids, lifting stuff, it makes a difference.
Of course, since we were all sweltering in the dry heat, this episode takes place in Arizona, at Christmas time. Lots of heavy coats, boots, hats, etc. Everything to part you from the water you need to survive as a biological entity. One BG had a tire blow out in the heat, and my old car needed the resevoir filled when I got back home.
So, the soundstage sounded like a really nice change, until I got to the second gig of the week. Our holding was directly underneath a large, meanacing, HVAC duct, spilling out cold air on top of us. The second day, most of arrived wearing wintercoats at the studio gate, which made for a few strange looks. Late that night, some of us were noshing at crafty when one of the principals notice our out-of-season garb. "Hey? You guys cold or something?"
Yeah, another tale from a background warrior. At this rate, I'll be happy to report on an "average" temp on set
And being back on a soundstage was a nice bonus. See, just before the holiday weekend, I did a location shoot out near Palmdale. It was sunny, and over 100 degrees, which isn't bad in and of itself, but when you're the featured person that day, playing with kids, lifting stuff, it makes a difference.
Of course, since we were all sweltering in the dry heat, this episode takes place in Arizona, at Christmas time. Lots of heavy coats, boots, hats, etc. Everything to part you from the water you need to survive as a biological entity. One BG had a tire blow out in the heat, and my old car needed the resevoir filled when I got back home.
So, the soundstage sounded like a really nice change, until I got to the second gig of the week. Our holding was directly underneath a large, meanacing, HVAC duct, spilling out cold air on top of us. The second day, most of arrived wearing wintercoats at the studio gate, which made for a few strange looks. Late that night, some of us were noshing at crafty when one of the principals notice our out-of-season garb. "Hey? You guys cold or something?"
Yeah, another tale from a background warrior. At this rate, I'll be happy to report on an "average" temp on set
Wednesday, September 06, 2006
Standoff
Fox aired the premiere of Standoff last night, and I was watching, but this time, not just for myself. When we shot this back in March, I was pulled out by the technical advisor and placed near the command tent with the backgrounders portraying FBI technicians. While waiting for the next shot, one guy approached and said, "Hey Steve, remember me?"
It was one of my high school classmates, who does background work on a part-time basis.
And that's how weird the business can be at times, if not most of the time.
The other interesting factoid about Standoff (originally called Primary when filming the pilot) is the opening scene. It took place on 7th Street in downtown Los Angeles near the 110 Freeway. We shut down a whole city block and dealt with pedestrians and curious on-lookers while rolling. Such is the case for location shots.
At one point, a semi-deluded homeless man kept screaming at the crew from the next block (now, this isn't particularly strange or unusual - the homeless in downtown LA tend to scream a lot, especially at film crews). The director, Tim Story, kept looking up the block, along with the other crew members in video village. I thought he was going to send someone to quiet the guy up, but instead he told the others, "No, no... I'm just interested in what the guy is trying to say.
Recalled on one of my regular gigs for later today.
It was one of my high school classmates, who does background work on a part-time basis.
And that's how weird the business can be at times, if not most of the time.
The other interesting factoid about Standoff (originally called Primary when filming the pilot) is the opening scene. It took place on 7th Street in downtown Los Angeles near the 110 Freeway. We shut down a whole city block and dealt with pedestrians and curious on-lookers while rolling. Such is the case for location shots.
At one point, a semi-deluded homeless man kept screaming at the crew from the next block (now, this isn't particularly strange or unusual - the homeless in downtown LA tend to scream a lot, especially at film crews). The director, Tim Story, kept looking up the block, along with the other crew members in video village. I thought he was going to send someone to quiet the guy up, but instead he told the others, "No, no... I'm just interested in what the guy is trying to say.
Recalled on one of my regular gigs for later today.
Monday, September 04, 2006
A Week in the Life
Nothing is more pathetic, or typical, of LA than an actor helping another actor move boxes when one has a truck. And that was how I spent a couple days this past week when not on set. Hence, the lack of posts to the literally dozens of you who tune into this blog from time to time.
What's a working actor's life like during the week? Well, one day I worked a nice gig on location: great crew, good PA's, excellent catering (always important). But it just so happened that I was staggered in with a bunch of non-unioners who gawked at my union voucher (the PA had to run to the truck to get mine - I was the sole one at the midday call). The result? Hours of "How did you...," "How can I...," "What recommendations can you give..." and so on.
Another day: Rushed to make a interview for a featured role with the 1st AD of the show. I arrive after battling traffic, changing shirts, and trying to make my tie look sharp in 100 degree heat. Upon arrival I heard, "Oh yeah, the interview. Umm, they changed the script on me. We don't need you this episode, but maybe....." followed by an inquisitive look. Anyone who's survived an audition (which could fill an army), know this was the moment to sell yourself. I tried, we'll see, and I'll keep you all informed.
Then, near the end of the week, had a call out in the desert. I arrived early, grabed some breakfast off the truck, and checked-in. Turns out this was a nice featured role for a popular cable show just starting the new shoots for the season* (won't say which, read disclaimer below). However, it involved a family scene with a Christmas tree, heavy parkas, and couple of lively boys portraying my kids. Try lifting kids on film for 3+ hours in 103 degree heat in a parka and you will know what dehydration feels like. Did a half-day of work, paid for a full eight hours (union rules), plus mileage and a car bump. Not too bad, given that I beat the weekend traffic back into LA.
Lastly, it's nice to turn on the tube and get a nice surpise, when it's not your face on screen. The battle over the California propositions has just started, but it's paid off for at least one fellow actor. Imagine my surprise when I turned on the tube this weekend and saw a "typical California voter" outlining reasons against one particular proposition - surprised because the last time we worked together was a recent gig as stand-ins on a yet-to-be-released pilot with a roster of A-listers. She was preping for an audition in the morning, and I was watching the hours tick away towards 3:00 AM, knowing that I had a 7:00 AM call time at another studio, and wondering if I was going to get any sleep that night (I did - two full hours). Clearly, she got the part! By the way, if you are shocked that political ads use union actors to depict voters, my recommendation is: Time to wake up, smell the coffee, grow up, and get a life!
* As a rule, I don't announce which shows I've been on until they have fully aired. There are a couple reasons. First, as a professional actor you are involved in production - story lines change and information to which you are privy might not want to be released by the studio. Once they have done so, then it's public. Two, even the choicest featured role sometimes gets left on the cutting room floor. You never really know if the footage they took will be included until the darn thing is aired on the tube, or released on screen.
What's a working actor's life like during the week? Well, one day I worked a nice gig on location: great crew, good PA's, excellent catering (always important). But it just so happened that I was staggered in with a bunch of non-unioners who gawked at my union voucher (the PA had to run to the truck to get mine - I was the sole one at the midday call). The result? Hours of "How did you...," "How can I...," "What recommendations can you give..." and so on.
Another day: Rushed to make a interview for a featured role with the 1st AD of the show. I arrive after battling traffic, changing shirts, and trying to make my tie look sharp in 100 degree heat. Upon arrival I heard, "Oh yeah, the interview. Umm, they changed the script on me. We don't need you this episode, but maybe....." followed by an inquisitive look. Anyone who's survived an audition (which could fill an army), know this was the moment to sell yourself. I tried, we'll see, and I'll keep you all informed.
Then, near the end of the week, had a call out in the desert. I arrived early, grabed some breakfast off the truck, and checked-in. Turns out this was a nice featured role for a popular cable show just starting the new shoots for the season* (won't say which, read disclaimer below). However, it involved a family scene with a Christmas tree, heavy parkas, and couple of lively boys portraying my kids. Try lifting kids on film for 3+ hours in 103 degree heat in a parka and you will know what dehydration feels like. Did a half-day of work, paid for a full eight hours (union rules), plus mileage and a car bump. Not too bad, given that I beat the weekend traffic back into LA.
Lastly, it's nice to turn on the tube and get a nice surpise, when it's not your face on screen. The battle over the California propositions has just started, but it's paid off for at least one fellow actor. Imagine my surprise when I turned on the tube this weekend and saw a "typical California voter" outlining reasons against one particular proposition - surprised because the last time we worked together was a recent gig as stand-ins on a yet-to-be-released pilot with a roster of A-listers. She was preping for an audition in the morning, and I was watching the hours tick away towards 3:00 AM, knowing that I had a 7:00 AM call time at another studio, and wondering if I was going to get any sleep that night (I did - two full hours). Clearly, she got the part! By the way, if you are shocked that political ads use union actors to depict voters, my recommendation is: Time to wake up, smell the coffee, grow up, and get a life!
* As a rule, I don't announce which shows I've been on until they have fully aired. There are a couple reasons. First, as a professional actor you are involved in production - story lines change and information to which you are privy might not want to be released by the studio. Once they have done so, then it's public. Two, even the choicest featured role sometimes gets left on the cutting room floor. You never really know if the footage they took will be included until the darn thing is aired on the tube, or released on screen.
Sunday, August 13, 2006
Workin' Hard
I know I'm not the most compulsive blogger in the world, but my laptop's OS went AWOL this week, and I'm waiting for the disks to come in so I can be fully connected again. I'm borrowing a sibling's Mac for this post, which makes me feel like driving on the other side off the road.
The other reason for the delay in posting is, well, work, and lots of it. I'm starting a couple shows as a regular and recently completed standing in for a couple week for an A-lister. The turnarounds have been tight - last week I had one gig wrap at 2:30 AM only to be booked at another studio at 7:30 AM. Ouch is the operative word.
Working full-time like this is what background performers wish and hope for, and ironically is one of of the arguments against going union (i.e., joining SAG): With fewer union slots, albeit for higher pay and benefits, union roles are harder to get.
And this is what a friend of mine ran into several weeks ago. He earned his fourth SAG voucher and is therefore a "must join" background performer, if he wants to continue to receive SAG vouchers. Since he's been working for that moment for well over half a year, it was a happy day. That is, until one of the malcontents in holding cried out, "Don't join - you'll never work again!"
Upon hearing that, several of us wheeled around and announced that we had our busiest hiatus in years, much to this fellow's surprise. It's a common complaint heard on sets. I worked with one woman last week who hasn't worked since May.
Now, that is a surprise. But, when you pry deeper, you begin to pick out a few facts.
First and foremost: Acting is a business. You must sell yourself. You must get a good reputation among the casting directors and - most importantly - they have to know you are! A lot, probably most of the "complainers" I meet have never met the casting directors that book them, nor written them letters, thank you notes, or updates from the set. They don't make an effort to know the production team on set. And even with excellent training and looks, it takes a bit more to get steady work.
Think about it. If this were any other business, say sales, you wouldn't get much of an income by waiting for the phone to ring.
Just my two pennies off a borrowed iBook and the neighbor's WiFi.
The other reason for the delay in posting is, well, work, and lots of it. I'm starting a couple shows as a regular and recently completed standing in for a couple week for an A-lister. The turnarounds have been tight - last week I had one gig wrap at 2:30 AM only to be booked at another studio at 7:30 AM. Ouch is the operative word.
Working full-time like this is what background performers wish and hope for, and ironically is one of of the arguments against going union (i.e., joining SAG): With fewer union slots, albeit for higher pay and benefits, union roles are harder to get.
And this is what a friend of mine ran into several weeks ago. He earned his fourth SAG voucher and is therefore a "must join" background performer, if he wants to continue to receive SAG vouchers. Since he's been working for that moment for well over half a year, it was a happy day. That is, until one of the malcontents in holding cried out, "Don't join - you'll never work again!"
Upon hearing that, several of us wheeled around and announced that we had our busiest hiatus in years, much to this fellow's surprise. It's a common complaint heard on sets. I worked with one woman last week who hasn't worked since May.
Now, that is a surprise. But, when you pry deeper, you begin to pick out a few facts.
First and foremost: Acting is a business. You must sell yourself. You must get a good reputation among the casting directors and - most importantly - they have to know you are! A lot, probably most of the "complainers" I meet have never met the casting directors that book them, nor written them letters, thank you notes, or updates from the set. They don't make an effort to know the production team on set. And even with excellent training and looks, it takes a bit more to get steady work.
Think about it. If this were any other business, say sales, you wouldn't get much of an income by waiting for the phone to ring.
Just my two pennies off a borrowed iBook and the neighbor's WiFi.
Sunday, August 06, 2006
Going, Going, Gone Hollywood
So much for the field of education and research – all that grad school, dead-end teaching and part-time managerial stuff. Some of those close to this site know by now that the former Happy Valley College elected to go with another Director of Assessment Services with no previous ties to the college while I was toiling away in the office, leaving me to do…what?
Saturday, June 17, 2006
Changes Coming... Stay Tuned
Yes, after a long hiatus, the Angry Anthro will soon be back online. The career trajectory took a weird, unforseen angle, albeit one that is highly entertaining (those of you in the know will forgive the joke). So, stay tuned and check back periodically, if only for the copious links to your right.
Thursday, March 02, 2006
Hollywood Reality, Hollywood Gloss
Yeah, yeah, the whole world is anxiously awaiting Sunday's Oscar bash, or the day-before antipodal Independent Spirit Awards, but if you really want to learn about what's going on in Hollywood, skip the glossy, front-page of the daily paper, and take a look back in the Business Section of today's LA Times:
For 18 years, Mark Karen has worked behind the camera, carefully framing shots on movies and television shows from "Titanic" to "Star Trek: Voyager."
But the 45-year-old Los Angeles resident sees a bleak picture of his own future.
The reason: a proposed contract change that for the first time would remove a requirement that camera operators like Karen be used on feature films. Instead, the new contract would allow directors of photography, commonly known as "DPs," to operate cameras on features and episodic television shows.
The seemingly innocuous concession — contained in a draft contract for Hollywood's so-called below-the-line workers — has roiled the ranks of camera operators, who have worked hand in glove with DPs since the days of talkies."
It means I'm going to be out of a career," Karen predicted.
For 18 years, Mark Karen has worked behind the camera, carefully framing shots on movies and television shows from "Titanic" to "Star Trek: Voyager."
But the 45-year-old Los Angeles resident sees a bleak picture of his own future.
The reason: a proposed contract change that for the first time would remove a requirement that camera operators like Karen be used on feature films. Instead, the new contract would allow directors of photography, commonly known as "DPs," to operate cameras on features and episodic television shows.
The seemingly innocuous concession — contained in a draft contract for Hollywood's so-called below-the-line workers — has roiled the ranks of camera operators, who have worked hand in glove with DPs since the days of talkies."
It means I'm going to be out of a career," Karen predicted.
Wednesday, March 01, 2006
What the?....
Some mornings - most mornings in fact - are horribly quotidian: Same breakfast foods, same coffee, same egotisitical nut asking you for your morning paper, then complaining when you refuse (see previous post).
And then, occassionally, out of the blue, you open the paper and are given the wake-up call. That happened today when I read this:
A False Note to the New Year in Pasadena
A lawsuit contends that school officials tried to cover up importing musicians to march in the city district's band in the 2006 Rose Parade.
By Bob Pool, Times Staff WriterMarch 1, 2006
Did a group of ringers secretly ring in the new year at Pasadena's 2006 Rose Parade?
The answer is yes. But that hasn't resolved a lawsuit over whether officials at the Pasadena Unified School District tried to cover up what they did.
And then this:
Amid growing criticism, the executive producer of KTLA-TV's "Morning News" defended the show's decision last week to accept free accommodations in exchange for broadcasting its morning program from the newly renovated Ritz-Carlton Huntington Hotel & Spa in Pasadena.
And finally, this item:
A Chinese dissident facing felony charges that could have led to his deportation pleaded no contest to a misdemeanor and was released Tuesday, a Los Angeles County official said.
Zhang Hongbao, the leader of a Chinese spiritual group with an estimated following of 30 million, had been accused of five felony counts related to the alleged beating of his housekeeper in his Pasadena home in 2003.
So much for the boring news from a little city in the foothills of the San Gabriel Valley.
And then, occassionally, out of the blue, you open the paper and are given the wake-up call. That happened today when I read this:
A False Note to the New Year in Pasadena
A lawsuit contends that school officials tried to cover up importing musicians to march in the city district's band in the 2006 Rose Parade.
By Bob Pool, Times Staff WriterMarch 1, 2006
Did a group of ringers secretly ring in the new year at Pasadena's 2006 Rose Parade?
The answer is yes. But that hasn't resolved a lawsuit over whether officials at the Pasadena Unified School District tried to cover up what they did.
And then this:
Amid growing criticism, the executive producer of KTLA-TV's "Morning News" defended the show's decision last week to accept free accommodations in exchange for broadcasting its morning program from the newly renovated Ritz-Carlton Huntington Hotel & Spa in Pasadena.
And finally, this item:
A Chinese dissident facing felony charges that could have led to his deportation pleaded no contest to a misdemeanor and was released Tuesday, a Los Angeles County official said.
Zhang Hongbao, the leader of a Chinese spiritual group with an estimated following of 30 million, had been accused of five felony counts related to the alleged beating of his housekeeper in his Pasadena home in 2003.
So much for the boring news from a little city in the foothills of the San Gabriel Valley.
Tuesday, February 28, 2006
Hands Off My Morning Paper!
Back in the pundit saddle, albeit on a part-time basis.
For those of you who – amazingly – still find your way through the cybersphere to this crass corner of complaints, thank you for visiting. I’ve had a few unexpected turns in recent months (mostly for the better), and will update you all in the near future. Basically, I’m looking at a complicated fork in the proverbial road, and have to choose which of the many tines I’m going to continue on for years to come. No doubt, many of you have experienced the same thing.
But, to get back into form, my rant du jour centers on coffee house etiquette. To be brutally honest, I need and covet my morning caffeine. To that end, I hang out with a bunch of regulars at Peets in Pasadena (Starbucks sucks, but is a necessary evil when conditions warrant), and have done so for years.
Now, I’m a plain coffee type of guy, so I can’t imagine spending $4.50 on a latte with more flavors and calories than most milkshakes. But, if you’re going to spend that much, don’t you think you could spend an additional 50 cents on the damn paper?!
See, my friends joke that no matter where I am sitting, or doing, someone will invariably approach and try to take my LA Times paper away from me, as if I’m the communal paper basket. This happens at all times of the day, and even outside (one time, a guy came off the sidewalk while I’m still reading a section and asked, “Hey guy, you done with the paper yet?”). They’ll even try to yank out a section from under my seat, with my foot on it! (And it happened again this morning.)
Who knows why this happens – I think it’s akin to what the British writer Toby Young calls his, “negative charisma,” when he enters a room, people immediately hate him before they know anything about him. Somehow, I must have the look of, “Take my paper – please….”
My jaded advice: Peets isn’t the Union Rescue Mission. If you there to buy the expensive coffee and more-than-expensive snacks, you can reach down into your pockets and shell out an additional two quarters. Get the damn paper yourself.
For those of you who – amazingly – still find your way through the cybersphere to this crass corner of complaints, thank you for visiting. I’ve had a few unexpected turns in recent months (mostly for the better), and will update you all in the near future. Basically, I’m looking at a complicated fork in the proverbial road, and have to choose which of the many tines I’m going to continue on for years to come. No doubt, many of you have experienced the same thing.
But, to get back into form, my rant du jour centers on coffee house etiquette. To be brutally honest, I need and covet my morning caffeine. To that end, I hang out with a bunch of regulars at Peets in Pasadena (Starbucks sucks, but is a necessary evil when conditions warrant), and have done so for years.
Now, I’m a plain coffee type of guy, so I can’t imagine spending $4.50 on a latte with more flavors and calories than most milkshakes. But, if you’re going to spend that much, don’t you think you could spend an additional 50 cents on the damn paper?!
See, my friends joke that no matter where I am sitting, or doing, someone will invariably approach and try to take my LA Times paper away from me, as if I’m the communal paper basket. This happens at all times of the day, and even outside (one time, a guy came off the sidewalk while I’m still reading a section and asked, “Hey guy, you done with the paper yet?”). They’ll even try to yank out a section from under my seat, with my foot on it! (And it happened again this morning.)
Who knows why this happens – I think it’s akin to what the British writer Toby Young calls his, “negative charisma,” when he enters a room, people immediately hate him before they know anything about him. Somehow, I must have the look of, “Take my paper – please….”
My jaded advice: Peets isn’t the Union Rescue Mission. If you there to buy the expensive coffee and more-than-expensive snacks, you can reach down into your pockets and shell out an additional two quarters. Get the damn paper yourself.
Another Pasadena Passing....
FYI, reknown Pasadena-born science fiction-writer Octavia Butler has died.
From the front page of today's Pasadena Star News:
PASADENA - Octavia Butler, the Pasadena native who was one of the nation's leading science-fiction writers and whose first novel, "Kindred," is Pasadena's 2006 One City, One Story book selection, died Friday. She was 58.
Butler died after falling and striking her head on the cobbled walkway outside her home in the north Seattle suburb of Lake Forest Park.
From the front page of today's Pasadena Star News:
PASADENA - Octavia Butler, the Pasadena native who was one of the nation's leading science-fiction writers and whose first novel, "Kindred," is Pasadena's 2006 One City, One Story book selection, died Friday. She was 58.
Butler died after falling and striking her head on the cobbled walkway outside her home in the north Seattle suburb of Lake Forest Park.
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