A taxi driver put me up to the idea.
I was in LA and he started telling me about how much money he was making on the side as a “background artist”, as “extras” are now called – or “supporting artist”, as seems to be the case in the UK. “Relatively superfluous to requirements” would be a more accurate description as far as I can see, but who am I to take away a minion’s moment in the sun (well, the shade out of the sun’s rays).
He said the first step was to sign up to a casting agency and so, now in possession of my Green Card, when I returned to New York I decided to do exactly that.
I won’t name the agency for reasons that will become apparent, but let’s call them Muppet Casting, only because the people in the waiting room mostly looked as if they had just walked off that show and were awaiting their next gig on Fraggle Rock.
Never have I seen such an assortment of shapes and sizes gathered in one room; I thought I had walked into a Hall of Mirrors. It’s not often I’m the slimmest, youngest and, dare I say it, the most attractive person in the room (in fact, never), but I was nailing this. One woman was so enormous, she lost her clipboard in the folds of her stomach; there were at least three serial killers (the real kind, not the actor possibilities); and one woman was stuffing so many crisps into her mouth, if she were auditioning for a Walker’s commercial the director would live in fear of losing the product by the end of the shoot.
Then there were the stupid people, who hadn’t brought any ID with them, despite having been specifically told to do so and were quickly shown the door.
The form-filling was incredibly tedious and very complicated, not to mention long. At the end of this torture, officiated over by a woman who could not have been less enthusiastic had she been playing a corpse, it was time for the photos. That took forever, too. I swear I had two birthdays during the course of the afternoon. Then, before you can do any work, you have to complete the online anti-harassment course – and there’s no escaping it. At least it paid $15.
In essence: don’t make unwanted advances; don’t persist on pursuing someone when they’ve made it clear they don’t want you; and don’t grope anyone.
That would pretty much wipe out the Nineties for me.
Now, this is how the system works. You get a text asking for your availability and you answer YES or NO. My first job – “woman in blue coat” came through pretty quickly, but I missed out on it.
What was wrong with me, I wondered? Did they think blue was not my colour? Maybe the coat was too big? Maybe I was too fat for it. I had already dismissed my chances of being a “concentration camp survivor” I saw advertised online; I was overweight by about five stone.
I pondered applying anyway, arguing that if I had survived, maybe I’d managed to wolf down a few hearty Big Macs, but thought that if groping was politically incorrect, trying to wangle my way into a Holocaust production by devious means was definitely a no-go area.
And so, to the next job. It was a major show on Netflix (I can’t say which one because I am bound by confidentiality) and they were looking for people for a crowd scene. My YES resulted in a positive response and my booking was confirmed the day before shooting.
Then the problems started. I would not receive the details until after 9pm, when I had to click on the link and key in the code I had been given (and they also tell you to check in again in the morning, should anything have changed).
A voice at the other end rattled off a number of addresses – 5th Avenue, East 102nd (that’s practically Canada, for those of you who don’t know Manhattan streets), 92nd . . . there were instructions for gates, groups, individuals. I listened to it a dozen times and was still none the wiser, so had to call the “urgent” number to confirm my details.
My call time was 6.48am on East 102nd Street. I live on West 45th Street. WEST. I never go to the East side unless there is free beer. Here, I was told, there was going to be no refreshment whatsoever; it was a “walkaway lunch” for which I would have to bring money or my own grub.
I presume that’s because I’m non-Union, because I know that SAG-AFTRA (Screen Actors Guild-American Federation of Television and Radio Artists) extras (I’m still going to stick to the shorthand term) put on at least ten pounds a day on every shoot. Last week, there was a violent fight at a food truck on set and the police were called.
But really, NO LUNCH? Apart from free food, there is no other upside to the job. It’s a nine-hour day for minimum wage, on which you are taxed at source, you have to pay your costs of getting there and back, and for what? To mingle amongst the muppets.
I told them I wouldn’t be able to make it after all as I could never make the venue by 6.48am.
She tried to negotiate.
“I’ll tell them you’ll be late.”
“Ok, how about 8.15?”
“Could you do 7.15?”
“This really isn’t going to work for me. I’m so sorry.”
She got really huffy with me.
“Well make sure you DON’T turn up tomorrow.”
“I WON’T!”
My Background to the Future career has not begun well; I’m just not ready for my non-close-up. Heck, I was Top Extra in Kenneth Branagh’s Frankenstein (you can read about that in the blog How to Be in Commercials in America, by the way); this already felt like a real comedown.
Don’t they know who I am?