Adventures of an Extra
Created | Updated Nov 11, 2012
Create's NaJoPoMo Project is producing some great writing. Coelacanth entertains and informs us with this tale of her experiences in the film industry.
Adventures of an Extra
"As far as possible without surrender be on good terms with all persons."
I've mentioned in journals before about my paid hobby as a film extra. More usually referred to as either a Background Artiste (BA) or Supporting Artiste (SA), we are the people you see sitting in cafes, looking in shops, waiting for trains etc completely ignoring the well know actors right next to us. If you've ever wondered why the passers-by in a shot don't pay attention to someone instantly recognisable, or notice the cameras, it's because they're being paid not to notice. And if you think they can't possibly be extras and must be ordinary people, then you're wrong, but they're doing an excellent job.
This half-term week for example, I spent one happy day pretending to sit in a pub with about 30 others while the main characters held animated conversations, received distressing phone calls or got cross with each other. We filmed 3 scenes in one day, in a real pub, changing jumpers and seats each time. The first scene took several rehearsals and 12 takes until the Director was happy, the second, and shorter, scene took about 8 takes. and the final scene about 5. Coming to Channel 4 next year.
Film sets are incredibly disciplined places, every crew member is extremely efficient and organised. I've done both films and TV but never heard anyone say "Lights, Camera...Action". The usual sequence is to announce that the camera is "Running" or "Rolling", then "Sound", then a clapperboard "Scene 206, Take 11" then "Background......and..... Action!". Our cue is "Background", so that by the time the main actor begins on "Action" we're already started on conversations, tea drinking, nodding or walking. All mimed, sound is added in Post Production. When the scene is done there is a shout of "Cut" but everyone stays where they are until told to go "Back to First (position)", "Back to One" or just "Reset".
BAs have their own director, it depends on the size of the production whether is this is a 1st Assistant Director (AD) a 2nd AD or even a 3rd AD. The bigger the production the more ADs. The ADs work very hard indeed and all the ones I've experienced have been incredible patient and good humoured. The AD will choose which people to place where, what the background sequence will look like, and decide on a chain of events. For example, in a street scene two people might be instructed to wait and count to 5 after hearing "Background", then walk to a shop and look in the window. Another 2 will be told to begin walking when they see the first pair get to the shop, but to cross the road, when there might be someone pushing a buggy who will have been told to cross in the opposite direction – and so on. The AD has to choreograph a dance, whilst making sure that it all looks so ordinary that no one notices. The extras have to look natural and also remember not to stare at the stars, not to look at their feet while stepping over cables and not to try and deliberately get in shot. That's why no one moves on "Cut", because the ADs need to look around and see what the scene looks like at the end as well as the beginning.
There's a huge amount of improvisation involved, not just the background but with the main action too sometimes. If something's not quite right then there are discussions, people are moved, or told to do something else or walk in a different direction. Camera hoggers are discreetly placed out of shot. Persistent camera hoggers don't get booked again for that production.
Film set language is relatively constant since crews are freelance and need to be able to work as part of a team without needing to learn how. One phrase not heard so much is "Check the Gates". It used to mean that as far as it seemed the scene was done. People held their breath while the lens was checked for any dirt, hairs, dust etc. If it was clean then the shot was done and "Moving On" was called, or if it was the last scene of the day "Wrap". Modern cameras are digital, the lenses are sealed, and they are kept scrupulously clean. But it was reassuring to still hear the cry of "Check the Gates" on Hugo. Scorsese has a team of people who have worked with him for years so even though they were using the most cutting edge cameras, it was a reassuring nod to cinematic history – as indeed the whole film was.
The days are long, the starts are early and there's a lot of waiting between scenes. One of the best bits is the fascinating people who do Background. Pretty much the first topic of conversation is which other productions you've done, and which agency you've been booked through, but people are from all walks of life so the chat soon moves on. I've met students hoping to be spotted, retired people who had it on their bucket list, part time musicians, magicians, inventors, and comedians, and quite a lot of teachers. And since you never know who you're going to be told to hold hands with or pretend to be related to, it's best to be on good terms with everyone!
