Hollywood OS

Background Actors; someone capable is on your side

Hollywood OS®, founded in 1997, was born from Angela Bertolino’s personal desire to protect others entering the entertainment industry from getting ripped off. Angela wanted to create a legitimate, trusted resource for newcomers and professionals seeking reliable casting information and guidance. In my professional opinion, she and her crew have succeeded, in spades.

A native of Sacramento, Angela moved to Los Angeles in 1995 to pursue acting.  Out of sheer curiosity, she fell into extra work. It was on the set of a made for cable movie that she met Carla Lewis, who became co-founder of Hollywood OS®, and learned that they shared similar experiences of being scammed by talent agencies. Tired of being duped into spending thousands of dollars for headshots and registration fees, Angela and Carla realized a need for an unbiased launching point for those interested in finding work in the entertainment industry. To their astonishment, not one company offered guidance or advice to actors and extras in Los Angeles. Angela and Carla saw a unique opportunity to make a difference for countless others who will come to Los Angeles with ambitions of making it in Hollywood. This idea fostered the beginning of Hollywood OS® in 1997, when Angela and Carla began publishing books for new actors as well as providing an interactive website for casting directors and talent.

Scam-busting has been a top priority from the start and it’s an ongoing battle at the Hollywood OS® office. Many predatory companies exploit innocent, unsuspecting would-be extras with ads in non-industry publications and bogus bait-and-switch casting calls listed on websites. Their avaricious goal is to take their victims for obscene amounts of money and offer nothing in return.

• Hollywood OS® launched the trade paperback book, Extra Work for Brain Surgeons, in 1997 because there were no tools available at that time to guide the public through the maze of misinformation and duplicity about the acting trade.   That’s why Angela and Carla set out to create that tool for others. From their noble goal grew the books
• Extra Work for Brain Surgeons,
• Kids Acting for Brain Surgeons and the respected website,
• http://hollywoodos.com.

What drew me to Hollywood OS® was two-fold. First, in researching for my own forthcoming book on background acting, I read every book I could find on the extras trade. Granted there are fewer than a half-dozen books specifically about background acting (which is quite probably why I was awarded a contract to write one, due out on May 5, 2010.) but Extra Work for Brain Surgeons was without question the best I found.
As a writer, I was seduced by the cool, self-deprecating humor of the authors. As a researcher, I was pleased by the amount of legitimate information presented. As an actor, I was relieved to see the truth about background acting presented in a usable form. (My only wish is that they could publish the book EVERY year.)

During the summer of 2009, in an effort to book more background acting gigs, I researched other career tools that would work in coherence with my teams at Extras Management and Central Casting. While I found several worthwhile websites, Hollywood OS® was the only one I found that was focused on the background actor. Others covered extras almost as a sideline.

One underlying motivation in my recommending Hollywood OS® so strongly is that I know what Angela and her team stand for.
In 1978, in an effort to help theater actors on the east coast identify and avoid scams and gain access to current audition information, I created the Theatre Grapevine magazine. (This was before computers were as ubiquitous as they now are.)  I am proud that the Theatre Grapevine is now in its 31st year of continuous publication.
I understand a desire to help others.

Money Facts

One of the most frequent questions we get here at BA:TB is
“Can I make a living as a background actor?”
The short answer is, “Probably not.”
So, here – in the interest of full disclosure and useful information – is the breakdown of the most recent 10 background acting gigs our founder Lary Crews worked and what he was paid:

What you can learn from the above:

• The average hours on set per project: 8.85
• The average gross pay per project: $100.24
• The average net pay per project: $87.68
• The average gross pay per hour: $11.33
  
• The average net pay per hour: $9.90

Why Background?

Background Acting can be more than a means to an end.

There are those (usually young actors) who believe the only conceivable reason one would choose to be a background actor is to claw one’s way up the ladder into being a “real actor.”

However, about a hundred of us here in Los Angeles have chosen to be professional background actors as a career, not just as a stepping stone to fame. We actually enjoy our work for its own sake and we thrive in an environment that brings no fame but much satisfaction.

Some actors say background work is not “acting.”

Actually, when you’re doing it right, background acting is an extremely specialized form of acting that not everyone can learn. It is full of nuance and sense memory and attitude without the benefit of speech, focus or close-up. Theater actors have a particularly difficult time learning background acting because of the major differences in style.

Others say, “Well, you can do some background acting but don’t put it on your resume.”

Why not? I have always put my background acting roles on my resume because I am a professional background actor and this is what I do. I’m not claiming ownership of the films in which I worked, for Christ’s sake, I am simply listing my jobs; which is what a resume is all about.

Some complain that non-union background scale on a SAG film is $8 an hour.

If I were trying to become rich, I’d be a producer! Working at McDonald’s pays $7.50 an hour and your only choice for “free food” at work is – well – McDonald’s.

In background acting, you get fed every six hours, you sit around and relax while waiting to act and you are part of creating something with lasting value, not just offering “fries with that.”

One guy whined, “Non-union background gets fed last. Everyone else eats first – production, cast, crew.”

Duh. You think they feed the Secret Service before The President? Background actors eat last for a practical reason; others need to return from lunch first to keep the production running on schedule. Principals, hair and make-up eat first, because the actors need to get retouched and back into wardrobe before they can return to the set. The crew needs to eat, because they have lots of work to do to get ready for the next scene. Background actors only need to walk onto set and act. Naturally, we are the last to eat.

The reason I was awarded a contract to write my 2010 book, Background Acting: The Book, was that my pitch was something quite ordinary but original; the idea of treating background acting as a reputable profession and sharing the skills and attitude necessary to be good at it. I chose to be a background actor and I love what I do. Background acting is not my stepping stone; it is my raison d’être.

Think of the advantages of a career as a professional background actor:

• You are on set and on screen and you’re part of the skilled team that makes the product.
• You are paid, fed and respected.
• No professional head shots needed.
• No reel necessary.
• You do not need to learn lines, pay a manager or agent or take expensive classes.
• The success of the production does not rest on your shoulders.
• You don’t need to participate in publicity photo shoots, promotions or red carpet events.
• You don’t get bad reviews, dodge paparazzi or have your every move analyzed by idiots.
• You don’t spend years clawing your way to the top where others strive to bring you down.

Setiquette

Learn “setiquette” and you will adapt to background acting more quickly.

Richard Loncraine, Renee Zellweger (l-r)

Background Actors who learn the unspoken rules of Setiquette are more likely to succeed in the profession.

As background actors, we’re always being observed.  Someone’s always watching.  Basically, it’s to your benefit to know how a set runs and who its players are.
The only reason movies and tv shows get made at all is because the set is run by certain rules. On a set, each department is its own little world. There are different specific jobs that have boundaries in their quest to reach the same goal. The best thing to do is sit back, stay out of the way and observe. That’s how you’re going to learn the most. If you’re smart, you learn from every moment you spend on set.

• You learn that all the different departments, though separate, seem to know what everyone else is doing.
• You learn not to sit in certain chairs.
• You learn that charm and a little luck may get you bumped up.
• You learn to always say “Thank you” if someone is catering to your needs in any way.
• You learn not to take any of it for granted, because everyone in every department has worked hard to get there and will keep working hard to stay there.

The person you’ll deal with the most is the “extras wrangler,” who can be a production assistant, an assistant director or the person who lost the straw-drawing. They are responsible for you and you are responsible to them.

Malin Akerman and Katherine Heigl (27 Dresses)

Don’t ever consider anyone on set as beneath you. Many people working on a set aspire to be doing something else, which is why a wise background strives to be nice to everyone. That bearded gaffer could be a director by next year. That man pushing equipment around may finally sell the screenplay he’s been writing for the last five years. The industry is a small world and at least two thirds of jobs come from referrals. Your reputation matters and bad behavior can ruin your career. On set, be humble, helpful, honest and eager. Don’t be a threat to others. Take the work seriously and do your best.

Some universal Setiquette rules:

• Late is a four-letter word. Show up early for the call.
• Be polite to everyone. Use “please” and “thanks.”
• Let people do their job. Don’t bug them or get in their way.
  
• Be humble, interested in the work and eager to do it.
• Confused about your assignment?  Ask questions immediately.
• Watch what’s going on around you. Pay attention.
• Make your “wrangler” look good by doing your job.
• Don’t embarrass anyone. If you are smarter than the others, keep it to yourself.
  
• Listen very carefully before you jump to conclusions.
• Learn and use your “wrangler’s” name.
• Work hard and willingly and do NOT ask “when will we be done?”

“To be the best you can be in movies and television, you need to understand the work environment. Instead of sleeping with a director, actors should consider sleeping with a production assistant. You’ll learn much more about how things work on a set.” (Note to readers who have lost their sense of irony: I am kidding. I do not recommend sleeping with anyone to get ahead in the business.)

Pay attention

On set, your job is to be quiet, useful and available.

In my mind, I know that background actors locked in discussion with other extras, strolling outside or sound asleep with their heads on their arms are no competition. (Seriously, it happens. You know who you are, young man at the Raising The Bar shoot.)

You see, the best opportunities go to those background actors who are eager, agreeable and available.
Every time the extras wrangler enters holding, my eyes are on him or her until they leave, with an attentive smile on my face and obvious interest in my eyes. I cannot count the number of times that, mostly because I was paying attention, the wrangler met my eyes, pointed at me and said, “Lary, I need you on set.”

It’s common sense. Put yourself in the wrangler’s shoes: If you have been told by the director to “bring me three extras to stand behind Mr. Pacino in this scene,” and you rush into the holding room with other people talking in your earpiece and you see several people actually looking at you and paying attention… Naturally, you will take the path of least resistance and select from among those who are paying attention.

Now, I do not mean that you cannot speak to someone or read a book or eat a snack. But, when the wrangler walks in, drop that fork, close that book or stop talking and pay attention. (Often, if I have made a friend, I will tell them in advance that I will cease listening to them when the wrangler walks in and not to be upset.)
Once on the set, again, the key to success is silence. Sit or stand where you are told to and shut up. When asked by crew, cast or director to move, do so. But make sure the wrangler knows that someone else moved you.  Even if you are a juror and fellow extras are seated on either side, don’t hold a conversation now. There is so damned much going on around you on the set and so many people listening to others, over earpieces and otherwise, that a little bit of chat becomes a cacophony in moments.

If you’re anywhere near the set at all, stay quiet! The microphones used on sets are super-sensitive and everything can be heard. Keep conversations at a minimum and if you can hear the AD yelling for quiet or asking to roll camera, then they can also hear you. If this is the case, don’t even whisper during filming. Always be available and waiting to go on set. The ADs will notice excellent behavior and they’ll notice bad behavior. They will also remember you. Respect is earned on movie sets, not given, so always be on your best behavior. You’re part of a team and they like team players.

As proof of what I share with you: while I was working on a Heroes shoot during the summer, extras wrangler Moose marched over to a group of four of us and said, “I need a cross behind Hayden Panettiere on this shot.” The other three were discussing how long it would be til the lunch break. I was standing there, looking at Moose and smiling. I raised my hand slightly and joked, “I’d do anything for you, Moose.” He led me to my start point, told me what I was to do and thanked me. The other three extras were still in deep conversation and didn’t even notice I’d been chosen. That’s why I got to spend nearly an hour walking within a foot of one of the stars of Heroes. Because I was paying attention.

You may not think it’s true, but crew members and the director notice those of us who cooperate and pay attention and they do not hesitate to inform the casting director.