September 30, 2005
West Wing
Episode: Undecided
Location: WB Ranch
Once again my car out does me in screen time. This time I was hired to be “pedestrian with car,” but the car got in all the shots and I was never used on camera. The production team has an agenda when they call for cars. Most of the time, you will hear calls for cars, and there will be this tag to the call; No red, black or white cars, and no SUV's, and Pick-ups. Picky picky.
But there are good reasons for most of this. If you ever watch a cop show you'll notice that the cops, FBI, DEA, FEDS or whatever, drive Black cars and Black SUV's. They don't need the confusion of other cars of the same type or color on the set. White and Red cars also pull the eye from the main action, or in a direction the director does not want it to go. And if there is a red or white car on set, it will likely be the leads car.
Props, those folk whose job it is to supply the doctor with her stethoscope, and the police officer with his badge and gun, also must “prop” the car. This means that each car used in the scene must have a license plate for the correct state. On Crossing Jordan, I had a Massachusetts license plate taped over my real license plate. On NCIS, the plate was a Virginia plate, and for this episode of West Wing, my car was parked almost in front of Josh's Washington D.C. Apartment, so a D.C. Plate covered mine.
Watch for the license plates on T.V. Cars, and you will note that there are seldom frames on them. The license put over the real one is usually large enough to cover it frame and all.
I stayed in a suit all day, so that when my turn to be on camera came, I was ready. I was given a 35mm camera, and told to be a photographer. When Santos and co. came out of the house they were shooting in, we started clicking cameras. There were six of us with 35mm cameras, one video camera, and one print reporter. Only two BG photographers ended up on camera, and neither one was me. But if you look closely, you will see the flashing of my camera on the bumper of the black car that Santos and friends get into.
I'll take what I can get. -grin-
Later,
Phil...
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September 29, 2005
Close to Home
Episode: Double Life Wife
Sony Studios
Sony Studios is only about a mile and a half from home. This is something I need to do more often, shooting at Sony. Traffic is rather more tolerable when you only take a few minutes to get were you are going.
There were some problems with the shows third episode. A courtroom scene needed to be re-shot, and as many of the background actors who could be, were called back for a reshoot of that scene. For those who couldn't be brought back (mostly because of schedule conflicts) they tried to get as many lookalikes as they could. And then they brought in a few more of us to fill the extra needs. One of the AD's thought they were going to have a hard time matching the shots they already had.
After they finished the filming of the third episode courtroom scene, they went on to the filming of episode seven. At one point in filming, the director was ready for the first team. The first team is what they call the principal actors, while the second team is made up of the stand-ins who are Background actors whose only job is to be standing on the actors mark for lighting, camera tests and whatever else makes the director happy.
I have noticed that on some shows, the second team maybe less busy than on others, and some actors keep their Stand-ins hopping. One actress I've watched on several occasions really moves fast on cut. She is out of her jacket (so well trained are the wardrobe people that they are there to catch it) and off the set in a heartbeat. Within seconds, the stand-in is there and holding her spot.
On other locations, I've noted that some actors are not as fast to leave the set. Most still do, but there is no urgency involved.
When the director called for the first team, one of the crew said “She'll be here in a moment. She's getting wired.” After some early mornings, I can understand the need, but it seems that “getting wired” has more to do with sound than heavy doses of coffee or drugs. At the end of the day, one also looks forward to the Martini Shot, that is, the last shot of the day, the one that is followed by the usually welcome words, “It's a wrap.”
Today, as we were shooting one scene, the director was informed by sound that he was picking up the sounds of shoes squeaking on the floor as people walked. Heels also make a problem for sound, and you will often see womens heels capped by little rubber tips, and the soles of their shoes taped with duct tape to quiet the steps. Today, the answer was to remove all shoes. We all went shoeless for the two or three takes it took to get the shot, and then most of us were wrapped. You could say we all got socked. He He.
Later,
Phil...
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September 28, 2005
NCIS
Episode: Honor Code
Location: L.A. Studios
Today was a bring your car to work day for me. My 2005 silver Scion was again part of the package deal that brought me to this show. On arriving at the studio, I was instructed to park my car, go to wardrobe (to approve my costume) and then return to set.
On my return, I was told where to park my car for the scene, and then told to go to holding, where they would come and get me if they needed me. Lunch time game and went, and I still had not seen the lens side of a camera, while my car got plenty of film time.
Shortly after lunch, the AD sent home close to half of the BG actors and the rest of us went to shoot a scene outside of the main lobby of the studio. The director shot this scene from many different angles, and not one of them included BG actors. We sat there for more that an hour while this went on. After the outdoor shots were done, the filming went in doors and about ten BG went upstairs to film some hallway shots. An hour later, ten more of us went upstairs and the remaining twenty went home. Keep in mind that up to this point, I still hadn't be before the cameras.
Upstairs, we shot a scene that ran for less than a minute. About two hours later we were able to wrap and go home. From any angle you look at it, my total screen time is such that if you blink, sneeze or pass a loving glance at your spouse at the wrong moment, you will, without a doubt miss me completely. Being as I will be paid Eight hours of regular pay, Two hours of time and a half, and Four hours of double time, I must accept this graciously. Still, my car really did get more screen time than me. Hmmm.
Later,
Phil...
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September 27, 2005
House
Episode: The Mistake
Location: A School in West L.A.
This was another show involving a talent show. It has been too long for me to remember what kind of competition went on in school where talent shows were concerned, but the event as it unfolds in the world of filming is different. The people on stage are children who are paid to perform in a specific manner. And they do their best. They also help out when they can.
Today we had over one hundred and forty four background actors on set, and those were just the ones I could see. A sizable number of them were children. The children were often the ones being quiet or well behaved, while some of the adults were tiring and hard to listen to.
One of the young girls on stage, was told to take a bow at the end of her performance. This was complicated by the poofy dress the poor thing was wearing, and really required a proper curtsy. Alas, no one had ever taught this young thing how to curtsy. Stepping bravely forward was a little girl all of maybe seven, who took her aside, without being told, and proceeded to teach her the proper way to curtsy. She also felt it part of her function to entertain the audience of Background artists who were watching her and the others repeat the same bits over and over again.
This little lady had all the moves down for a model, gracious star and “cute” kid, and she most definitely knew when she was performing as a “cute” kid and acting like a real one. During one of the takes, her ear piece fell out, thus making it impossible to hear the music that was being piped in to her ear, and allowing her to sing and dance as required. She kept singing and dancing, and only afterward, did she locate the expensive device and tell the sound man that it fell out “again”. She did not through a fit or huff and puff, but simply asked if there was a better way to keep it in. Double sided tape did the job and she did not fuss a bit at the discomfort.
Mean while, the BG adult behind me had become tired of doing her job and was letting out loud and obnoxious sighs, and complaining about how tired she was. Poor thing had to sit there while these two little girls ran through their routine close to twenty times. Not once did any of the children show that kind of temper.
Alas, young Abe Lincoln did toss his cookies, and it was funny watching these big manly crew members turning green at the thought of having to clean up the mess. Thank goodness the females were there to handle the task.
Later,
Phil...
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September 26, 2005
Screen Caps of Arrested Development |
The grimace (seen on the right) is largely because I was looking directly into the sun. I am surprised they managed to get me with my eyes open at all.
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September 26, 2005
A Call Sheet.
Sometimes, if your lucky, or just pushy enough, you can get the call sheet for the day. The call sheet is a document that calls out what will be needed for the days shoot. Here is some of the information on a call sheet.
Location and Set:
Location – Medical Center (address)
Sets – Des Plaines Municipal Hospital Observation Room (as one example).
Scenes – A60, 60, 61
Cast Needed – Cast is identified by number. There were 16 principals on set for this call.
Script Pages – 1, 2
Cast and call times:
Cast members were called at different times, the earliest being 5:15 AM – the latest was 1:15 PM.
The lucky actor called at 5:15 AM goes straight to make-up and wardrobe, and was on the set by 7:30
AM. Any special remarks are noted. One actors notes indicated need for a Tattoo application and possible haircut.
Stand-ins and Atmosphere (Background):
1 Utility Male Stand-in/Photo Double (for actor 1)
1 Utility Male Stand-in/Photo Double (for actor 2)
1 Utility Female Stand-in/Photo Double (for actor 3)
1 Female hospital visitor
2 Uniform Cops
1 Male Doctor
1 Injured son
9 ER Patients
Shooting Schedule:
Example – INT Emergency Room – Scene #'s 68, 70, 72, - Cast #'s 2, 5, 25, 26, 90 – Pages 6, 1
I was one of – 2 Hospital Visitors 8:30 AM Call.
Just makes you feel warm and fuzzy inside.
Later,
Phil...
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September 26, 2005
The Audition Process.
This started on Wednesday and ended Sunday night. Never been on a professional audition until this weekend. Simple and simply unnerving.
Wednesday - 092105
While going through a web site for actors, Linda came across an audition listing for a commercial. They wanted males between 25 and 60 years of age and all types, who knew Tai Chi. Well that description fit me, and Linda decided that it was worth submitting me for the audition. She sent a headshot into the casting company and I proceeded to fret.
No telling when they would call, but it would be soon, as the shoot date was only a week away. I got out my book on Tai Chi, and reintroduced myself to the first half of the form, just in case I needed more than I remembered, and they actually called for me to come in.
Thursday - 092205
I had a late call on Wednesday (see my log) and was up late. Thursday morning at 11:00 AM the phone rang and it was for me. The casting agency was calling to ask if I could come in to audition between 2:00 and 4:00 today. I, of course, said yes. The advantage to getting a call only hours before you need to show up is, you don't get too much time to fret.
I dressed up in a business suit and drove to the audition.
On entering the office, I found a table with audition information and sign-up sheets. They were also auditioning for an AOL commercial and something for Nickaloadian. I signed my name on the sign-in sheet and was handed another form to fill out. The gal in charge took the form, my headshot, and resume and a polaroids photograph and stapled them all together. Now I waited my turn.
When I went in to do my audition, I discovered what a simple thing it really is. Especially when no dialogue is required. I stood before a video camera, slated (said my name to the camera, and turned to provide profiles) and began my form. They only wanted between thirty seconds and a minute of Tai Chi, and I gave them about thirty seconds. That was it. Thanks and good byes were had by all and I went home. Again with the waiting. I would know by Sunday, as that would be when they made the call backs for Monday.
Sunday
No one called.
Jessica sent me a text message via her mother. It reads...”Remind dad if he doesn't get the call back, it's ok. It wasn't him, it probably came down to looks or matching of people or who knows, but there will always be next time and getting the first one done is good and will help relax him for the many to come. There's more rejection in this business than any other. It's not personal. Hopefully he'll still hear but just in case.
It's nice to have someone who's done this before able to share some of her hard earned wisdom.
To next time.
Later
Phil...
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September 21, 2005
West Wing
Episode: The Al Smith Dinner
Location: Warner Brothers Studio
This is my second visit to the West Wing Stage, and the second time I will not be on the White House set. I am an Elevator repairman, and will be standing near an elevator that seems to work and not need my expert service.
I had a 5:30 PM call, and the scene we were there for (there was one other repairman) was not shot until after 8:00 PM. Still, we were fed and watered, so not much to grip about. How many other jobs are there where you get paid while you socialize, read, write, attend to personal business and sleep, and no one suggests (even in jest) that you should look busy.
When I was called to the set, myself and the other repairman were placed in a small entryway with an elevator. There were two other BG there who were Secret Service. One of the Secret Service BG managed to get a chuckle out of me because this fellow was Russian. He has been in the U.S., for five years. He had learned English in Russia before coming to the states. We joked about the level that outsourcing had finally come to. Hiring Russians for the Presidents detail.
For the better part of the next two hours, the four of us were alone in this entryway, with only occasional breaks where the door would open, and in would walk Leo McGarry (Played by John Spencer). He would talk briefly into his cell phone (which was connected to an actor outside who was reading his cue lines) all the while standing between me and the camera. He would get into the elevator, the door would be closed by one of the BG Secret Service, and the director would yell cut. We assumed he would, anyway, because with the door closed, we could not hear a thing.
It didn't take long for us to start talking, and we ended up discussing politics (unusual on the set, as one seldom has the chance to talk, period), and as we were all good liberal Demarcates, the discussion was properly one sided and without a great deal of descent. More than once, the Russian fellow would chuckle and remark on what we were saying or refer to the politics of his native Russia. Fun was had by all.
So much fun was being had, that we almost missed the Wrap call by the Director. It was only because I noticed the dead silence outside that caused me to check out the door, and see that everyone was going home. As I passed by John Spencer, I was commenting to the other BG, “You gotta love this business.”, and John smiled as he caught my eye.
Later,
Phil...
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September 20, 2005
Arrested Development
Episode: Notapussy
Location: Burbank (a park next to the Studio)
It was a dark and rainy day...
I enjoy working this show. Never mind that it is either hot and sunny, or cold and raining (I've done both now) and I always seem to work out doors, it's just plain fun to do. Not that everyone will agree with me. Today we hopped in and out of shelters to shoot the scenes in the park, as rain permitted. Being as the show was ignoring the fact that there was water on every surface, including the actors and BG, it tended to be rather damp. No jackets or umbrellas, as we were pretending to be out in the bright southern California sun. Some of the BG did grumble at the experience. Just a bunch of sissies I say.
Jennie is AD on this show, and just like last time, she would give us a starting point and tell us to make crosses back and forth, and around, and whatever, until the Director called cut. We were much better at it this time, partly because there were so many that had worked this show before. On those occasions when a more personal touch was needed, Jennie would direct BG like a New York cop directs traffic. Poetry in motion.
You can't beat this show for its twisted humor. We were filming an episode that takes place in a park, at a fair that is sponsored by local churches and the county. The sign above the entrance to the park reads, “Church'n'State Fair: Welcome people of God and Tax payers.” Here are some of the signs that you might read if you watch the episode closely.
On some of the Booths:
Science of Churchatology
Startled Straight
Pre-marital Petting Zoo
DWHP – Department of Water and Higher Power
Food signs:
(With a picture of hot dogs) The Missing Links
Sinnamon Buns
Corn Dogs with all the crusifixin's
Random signs:
(At the Bounce House) Defy Newton's Theory of Gravity
Be a Man – Join the Army (Free Hats)
Intelligent Design – Religious Furnature
And at the Amazing Phenomenon Tent:
See the Beardless Nun
See the DMV worker NOT on break
There were real firemen on set. They were in a tug of war with Hassidic Rabbis. The Rabbis won. The firemen were not disappointed though, as they all got their picture taken with Charlize Theron. That was part of the agreement that got them there. Sure, and I just get paid.
Later,
Phil...
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September 19, 2005
Scrubs
Episode: My Day at the Races
Location: A Hospital in North Hollywood
This set has one of the nicest Background (BG) holding areas I've seen. Couches, arm chairs, and a TV with many VHS tapes to chose from. Nice...
Still it is holding and there are times when you sit around for-seeming-ever, and wait for that magical moment when you feel needed again. You know that moment, because the AD (Assistant Director) will come in and say something like, “I need one white coat and three anybodies”. That is not as random as it sounds. The white coat is a doctor and the anybodies is referring to orderlies, doctors or interns. All others are referred to as “visitors”, “patients” or “kids”.
And there were plenty of children. One five or six year old girl would run up to the AD and grab his hands so as to get his full attention. “Is it time for me yet?” she would ask. The AD told her that it would be after the next scene. When he returned later to get more BG, she asked him if it was time. He said not yet, and she pointed out that this was an awful long scene. Most of us agreed with her assessment.
During filming of the scene I was in, Richard was the cameraman who was shooting the hall I was to walk down after action. Richard told the AD I could not walk down the hall, but the AD ignored him. This seemed the normal reaction to Richard. Director called Background and action, and I made my walk down the hall. I know I will be in this shot, because I literally brushed passed the principal actor while he said his lines, every single time we shot the scene.
After the first shot, I came back to “one” (my starting point) and asked Richard “How was that Richard?”, and he said it was perfect. I said, “of course”, and we shot the scene at least eight more times. I did give Richard his due and told him that I knew his superior camera skills would only make me look better, to which he agreed. Actually, he said he thought he was carrying me the last few times. Ah, the fleeting nature of perfection.
Back to the little girl in the third paragraph before I sign off here. During one of the AD's visits to holding, the young lady in question once again ran up and grabbed his hands, and looked up in to his eyes and asked, in only that way a little girl can, “Can I have a trailer?” This kid is going to go far.
Later,
Phil...
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September 14 – 16 2005
That 70's Show
Episode: Long Away
Location: CBS Studios
That 70's Show was a three day booking for me, so I am putting it under one log entry.
Day One (Wednesday): Simple fitting at CBS Studios Stage 2 for a 70's style suit. Costume Dept. has just about every style from the 70's. The Costume holding area is huge and full of some pretty awful looking cloths. I mean, did we really wear some of those things. Be sure to take a good look at what I ended up wearing. I could sell used cars in that outfit if they let me on the lot.
I am a Korean War vet in this episode. There will also be WWII and Vietnam vets in the same scenes as I'm in, as we are going to be at a Veterans yearly gathering. Only a hand full of men will be in anything like a uniform. The fitting didn't take long, and I had the rest of the day to relax and do other things.
Day Two (Thursday): Checked in and waited in the bleachers till we were called.
That 70's Show is shot before a live audience on Friday night. Thursday is spent in rehearsal and recording special scenes. One of the special scenes being filmed today is the opening sequence. I do not know if this is a permanent change for the opening, or filmed only for this episode, but it will be fun to watch. The opening is shot to the theme song of the show, as short takes include one or many of the characters singing along with the music. In this case, the camera is on a pivot, and will turn 90° and stop on an actor who is singing. Each actor sings a phrase and the camera turns another 90° going to the next actor. As there were nine actors to fit into the opening, the camera had a lot of turning to do.
This actually took several hours, both because of having to set up the shot, and because, the actors were trying to either out do each other or cause the others to laugh, sometimes achieving both results. The two big winners were Wilmer Valderrama (who plays Fez) and Tommy Chong (who returned this season as Leo). Both got laughs and applause from the crew and BG players.
There were scenes that needed to be filmed today because they were either too complicated to do live (like the scene with the car) or because the voice overs were needed for the actor to play against during Fridays filming. Promos were also shot, and it was interesting to watch the actors ask to shoot the scene again so they could do a take with their own twist.
More than once actors would get involved in trying to decide how a line should be delivered. Sometimes that meant rehearsing it several different ways, until all parties were satisfied.
My group of vets were involved in two Ballroom scenes, which also involved, three principal actors. Don Stark (Bob), Tommy Chong (Leo), and Kurtwood Smith (Red).
On Thursdays rehearsal, the principal actors were off doing other things while the seconds (Stand-ins) filled their spots on stage. All the blocking was recorded for the actors, and given to them later. This was really just to get the blocking for the BG, so we would know what to do come Friday.
The sets on this show are laid out one next to the other, so that cameras, crew, actors and audience could all get the best use of them. All the sets (unlike many of the shows I've been on lately) are three wall sets. The cameras shoot through the none existent fourth wall.
Day Three: (Friday): Today is filming day, with the live audience. First, all the principal actors and BG are put through the blocking one last time before the audience is brought in. Our day started at noon and each scene is rehearsed in sequence. All the last minute kinks are worked out at this point and final blocking is set. (That just means until tonight when the director will make more final tweaks).
At the beginning of the first ballroom scene, I am only a few feet away from Tommy Chong, and he, myself, and another BG actor get a chance to chat while we wait for cameras to set up. This is the first time on a set, where I actually had an opportunity to talk with a principal actor, and I enjoyed meeting and talking with him.
After, we worked out the blocking with the principals, we sat in the bleachers until lunch, and lunch is a group event on this show. BG, Crew and Principals all eat together in a large room not far from the set. No cloistered dining for the stars.
Macaulay Culkin (of “Home Alone”) was there to dine with the actors, and everyone had a good meal. They feed you well on some of these shows. After dinner, it was show time.
The audience was brought in and warmed up by a juggling comedian and the stars were introduced before filming began. During filming, blocking changes, actors flub lines and cameras have to be set up for new shots. My scenes went fine, and the whole process made me realize how much I missed performing before a live audience.
That 70's Show was fun to work. I hope I get the chance to be on the principal side of the cameras one day. In the meantime, I am having fun being part of the atmosphere of T.V.
Later,
Phil...
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September 12, 2005
Criminal Minds
Episode: 106
Location: A Medical Center in Hawthorne
This turned out to be an interesting shoot today. When I got to the set, Thomas Gibson (of Dharma & Greg fame) was shooting scenes in the parking lot. After they finished the shots, they took the actors out in their cars and shot the interior scenes in the cars as they drove the streets of Hawthorne. Meanwhile, we BG waited for them to return so we would have something to do.
Our first scene was the arrivel of the agents (F.B.I. Types) to the hospital. I am in the lobby and if anything is seen of me by the camera, it is the top of my head as it follows the SUV driven past the windows to its stop at the door. Out pile the agents, they enter the lobby and split up in a (to them) meaningful manner.
I sat around for a while before Coach (the DA) came down the hall pointing at an occasional BG and saying “follow me”. Being one of the pointed at, I followed and joined seven others in front of the Medical Center, where I learned we were to be “look a-likes” for seven of the principal actors. I was to be Mandy Patinkins (Special Agent Jason Gideon) double in a series of drive by shots. This allows the actors to be used in other scenes, while 2nd unit gets those long shots of cars driving by.
You know the ones. Where you can tell that who ever is in the car looks enough like the actors to fool the eye, but if we were sitting side by side, you would see that we look nothing alike. For this task, I make a trip to wardrobe where I change into a shirt that matches the one Mandy was wearing, and then to make-up where my hair (lite brown and gray) is moosed to a purplish black. First time in the make-up chair for me, even if it isn't really make-up.
 We lucky seven (more money for this gig) tumble into a van and are driven to a site about a half mile from the location, where we disembark and jump into a car and an SUV. Pamela (seen right, whom the DA kept calling Paula) was the driver of the car, and thus my driver. As Pamela was driving, I was given the radio so we could co-ordinate with the crew and camera. We were shooting on Hawthorn Blvd (busy street) and the local PD provided some limited support. We would wait until the street was clear, and the car and SUV would pull into traffic and drive past the camera.
 It all sounds easy until you take into account pedestrians, other cars, and traffic lights. We were out there for about two hours getting shots going north, south, close lane, middle lane and turns. Still, it was fun. I was the one that called the start of filming because I was in the lead car and told the crew when we were moving.
When we were done, we went back to set and I became a policeman. You won't see me as one on the show, because they didn't film the cops. Ran out of time. But I made sure I got a picture.
Later,
Phil...
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September 09, 2005
Crossing Jordan
Episode: A Man in Blue
Location: Universal Studios (New York Street)
Once again I am on a new Studio Lot. This time it is Universal Studios, a location I have been to many times as a tourist. This time, I am here to work, and have been hired as “pedestrian with Car”. This means that I not only got to drive onto the lot, I got to drive onto the set. I expected to park the car and see it filmed as a parked car, but I was pleased to find out that the DA who was handling the cars liked having all her cars handy for traffic. Result was, I got to drive my car around the set during the shots.
In one shot, the guest actors for this episode are on their way home. They say goodbye to Det. Woody Hoyt (Played by Jerry O'Connell) and get into their car and pull out into traffic. Here's how the shot was done.
On “Action” O'Connell comes out the door of the precinct and talks to the young man standing by the car his grandmother is about to drive off in. During this time, a few cars are signaled to drive to the corner, turn right (the only way they can turn) and drive off down the road. Then grandma puts her car in drive and pulls into traffic, once the boy is in the car. The shot will look like there is lots of traffic on a typical city street.
In reality, the street is only about wide enough for one car at a time (going any direction) and traffic is only going about ten to fifteen miles an hour. On top of that, after a few shots, the director tells the DA that we need to avoid accelerating around the corner, because it is being picked up by sound. Also, we need to make the turn real wide to make sure that we are in the shot.
When all is said and done, I may not even be in the scene, because there is a line of ten cars, and every time he calls cut, the cars that were in that shot go to the end of the line. New shot, new cars. Still, I got to sit in the car with the radio on, instead of walking the same path for several hours.
When that scene was done we went to lunch, which was less bizarre today than yesterday. Remember Invasion? Lots of BG were set up with cuts, and blood oozing down faces, arms and body's. You don't get to wash off the blood before lunch because right after lunch it's back to the set. No time to redo the make-up on twenty BG.
The scenes that we shot after lunch involved stunt cars. These cars (one bad guy and two police cars) were driven down the street, reached a corner and screech around it, tires squealing. The funny thing about this is, the cars start this chase only a few feet out of camera view. By the time they hit the corner, they are going a dazzling 15 to 20 miles an hour. If I hadn't seen the shot myself, I would have thought the actors put their heads out the windows and making the tire squealing sound themselves.
During all of this, the drivers of the BG cars did what we did all day. We drove in a big circle all day long (getting out to chat and snack between shots) and until the episode airs, none of us will know which cars end up in the scenes. Still, who can complain about being paid to have a tailgate party at Universal Studios.
By the way, for anyone who is interested, Jill Hennessy, who plays Dr. Jordan Cavanaugh is just as cute in person as she is on the telly.
Later,
Phil...
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September 08, 2005
Invasion
Episode: The Hunt
Location: A Hospital in Monrovia
After many years in retail, I finally became a doctor. No fuss or muss, and no intrusive exams or internships. My name is Gregg Bilson, MD, and I wear dark blue scrubs and have the illuminating little light for checking pupal reactions and the stethoscope to provide an excuse to touch other background people. Life is good.
Also, I get to work the long hours of a medical professional, as this day of shooting went on for 13 hours. Thank goodness BG folk don't really bleed, and that I was a doctor and not one of the walking wounded with blood and ripped clothes (fake blood and real rips).
Our handlers were 2nd, 2nd DA Susan and Fred (whose title I missed). Talk about different styles. Susan is the more laid back of the two, putting you in place and then, sending you back and forth as needed, while Fred tends to be more controlling and a tad bit more hyper. He is all over the set telling you what he wants and finishing his comments as he rushes off to grab another BG to put somewhere else. Both are effective and get the job done.
First time Susan ever set foot onto a set, she worked Providence (T.V. Drama) and saw the results of poor planning on the part of the BG handler. He had four principal actors standing in a square and facing the center. The BG handler had to populate the space behind each actor, as they each were filmed for their lines. The BG were put in order and crossed behind the actor being filmed and the same pattern was repeated for each actor. Exactly the same pattern, which became evident when the footage hit the small screen.
Turns out, that there was a really visible red head and one really visible blue shirt in the BG., and because the same pattern was used, the camera would look at actor number one, and the BG would walk behind. Then actor number two would get the shot, and the same red head and blue shirt, in the same order as number one would walk behind. Repeat two more times and it looked as though the BG people were walking in a circle around the actors, thus defeating the notion that BG is supposed to be seen but not noticed. Lesson learned.
There was one shot I liked just because it was fun to shoot. The camera was in a patients room aimed at the door, and the actors were standing and talking with their backs to the door. This meant that background was needed to keep the door busy and give the impression of a busy hospital. Susan was in charge of the BG in this shot, and there were about ten BG set to go. When the shot started, each of us had one bit to do, walking past the door or down a hall visible from the door. Three or four BG went down the hall and disappeared around the corner, but that still left six or seven of us to do the crosses. And cross we did. Again and Again. Four of us made seven (7) crosses each. That's twenty-eight crosses by the same four people and I'll bet you will never be able to tell which shot this is, because Susan, learned that lesson long ago.
Later,
Phil...
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| Copyright 2005
By Phillip Moon |
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