In 2009, I decided to try movies and television. Since I lived in “Hollywood” at the time, why not?
Over the next week, they got me seven auditions which
resulted in six jobs, Cold Case (CBS), Hawthorne
(TNT), Heroes (NBC), Miracle on the Hudson (Nippon TV), Sons
of Anarchy (FX), and two days on The Office (NBC).
Most casting directors want you to do well.
They'll not judge you harshly; they simply want to find the perfect
person for the role.
One casting director confided in me, "Casting
is as exhausting for us as it is for the actors. We wait for the right
person to walk into the room, so we can all go home. I want to see an actor
who is prepared," she explained, "but not so over-rehearsed
they can't take direction. I am especially happy if they show
up on time."
When it comes down to it, getting the job is 5% what
you do, 10% what you look like, and 85% dumb luck. I
spent 2009 and 2010 in L.A. as a background actor, and I
quickly figured out the rules.
First, as background actors, we are always being
observed. The only reason movies and TV shows even get made is
because the set is run by certain rules.
As a background actor, the people you deal with the most are
the extras wranglers. They are responsible for you,
and you are responsible for them. Jobs often come from referrals.
Your reputation matters and unruly behavior can ruin
your career.
Air Hollywood is neither one. It's not in the air and it's not in Hollywood.
It’s a cool
airplane, mockup studio, out in San Fernando, CA. It keeps directors
from having to go to LAX.
The director asked me to save the kid by holding
the child. He brings in a 2-year-old boy and the kid starts crying. After
trying for a half hour to get the shot they gave up and brought in a stand-in,
a doll.
The doll must have been Screen Actors Guild for it worked quietly, efficiently, and for less money.
