My Musings about the Movie/Television Entertainment Industry

What is it about television and movies that draws us to it, gluing us to the screen, making us sit unmovable for an undetermined length of time?

Is it the fact that the characters on the screen seem to speak to us, like good friends that are telling us of the rare adventures they had recently? Not the friends that don't require a response because they won't let you get a word in edgewise, but a friend that requires an emotional response--joy, pain, tears, laughter, anger, timed confusion, etc.

Or is it that we see ourselves in the characters? Do we ask ourselves, "Is that the way I would handle that?" "What would I do in that situation?" "Oh, I've had that happen before?" "I'm sure I told someone about this on the subway and the writer got their ideas from me because the must have sitting near me." "Oh yeah, that happened to my Great Aunt Mabel's next door neighbor's son-in-law's friend."

Is it that the people on screen look ideal--like we want to look? Their clothes look pressed to perfection, fresh off the runway; their smiles bright, white, and straight; their hair combed perfectly into position that does not change with the outside conditions; their words perfectly tactful and eloquently expressed; their projected outlook on life as though everything is okay--consequences are inconsequential? Is it the fact that true reality is just off to the side watching nodding or shaking its head every now and again?

How is it that entertainment can play an enormous part of our lives or a very little part depending upon our circumstances, work ethic, busy-ness, etc.? What makes us sometimes put everything else on the back burner, as it were, and do nothing for long stretches at a time?

Why do so many story lines seem so similar--yet we keep watching them again and again. How many different ways can the classic writers have their work rewritten into so many different yet similar ways?

Does the music draw us to it?

What is it? What do you think?

Doggy Mama

Apparently they are filming the next Zumba class at my gym for a reality show called "Doggy Mama."

When asked why, the model-looking lady that is going to be on the show said coyly, "I am the mother of two Pomeranians."

After that moment her face seemed to disappear in my minds eye and I could picture a dogs head on her head instead of hers and I thought inadvertently, "Whoa! What kinks does she have in her DNA?"


She continued, "I like Zumba, so they are coming to film me doing what I like to do. It will be airing in January."

I thought a little cynically, "Aw, I have a meeting right at that time. Shucks, I guess I will have to miss this "growling" experience." Although I wouldn't mind just watching.

I suppose I really should tell you, I am not an animal person. I had a dog I loved growing up and a couple of fighting fish that I did not know were fighting fish until I put them together and they started fighting. The latter part wasn't pretty.

But, hooray for the doggy mama that has two Pomeranians and is on a television show to show how fabulous it is to have 2 dogs and how it affects her life.

If you want to see more paintings like the one above, click on the dog-faced person and see the other ones she's painted. I found it googling for a dog-faced person.

Blue Bloods

"Hello Bizzanos," said the PA to the extras going to the rehearsal for the shoot (I thought they only said that on Super Mario Brothers from the 1980s Saturday morning cartoons--my kids have been watching it on Netflix--apparently, I was wrong).

The PAs begin shepherding the people to the allotted areas so they can have a clean shot. But there is one lady staggering through the crowd toward the crew. She hollers out, "Where do you want me to move?"

The first assistant director mutters softly, "To Cleveland."

Later some guy comes and the AD calls out, "Spumoni Gardens." The crew cheer and yell out "Yeah!" Some consider this the best pizza in the world. Others have referred to the pizza maker as the Picasso of Pizza.

In their eighth filming episode, with writers from The Sopranos sporting their lively imbd sheet, they filmed in my neighborhood, about a mile from my home. The giraffe crane (I loving call the crane hoisted on the back of an suv) filmed what would be considered by anyone on any day other than today at that particular location, at that particular time; a perfectly normal and harmless thing to do--picking up clothes from the dry cleaners.

He walks to his car with a glorious view of the setting sunlight shining on the Verrazano-Narrows Bridge in the background, chatting on his cell phone to someone he loves ending with "You're the light at the end of my tunnel."

Then he puts his clean clothes into the back of his sparkly blue 1971 Chevel Super Sport 396 Hardtop Coupe with its smooth ZL1 engine the crew members loving referred to as a "monster engine" that could reach 145 mph easy. This car is a star in its own right as it was previously in a different color in Life on Mars.


The guy with his arms folded was Will and the guy next to him is the director.

I stood around for a little while finding out more about the rare and wonderful facts of filming such as people can work full time pre-graduation (I think high school) during the summer. ADs are the loud echoes of the directors. If you want to work on this show get to know vintage and high end modern cars--you'll have a foot in the door.

Mr. Selick was finished for the day when I got there.

I talked with an enormous security guy--he was nearly as tall as Goliath. He was all friendly until I asked him how long he had done security work, then he got his suspicious face on and asked very intimidatingly, "Who are you?"

I felt like running and hiding under the nearest rock, but I stood my ground, smiled and said, "A watcher and a reporter for my blog."

Then he said, "Do you have permission to be here?"

I said, "I've been here since they were setting up. No one has asked me to leave, but if you need me to I can."

He said, "You should talk to the assistant director, but she's busy now."

I said, "Well, she saw me here. We made eye contact and everything."

He said, "I guess it is okay for right now."

Then he moved closer to the cast.

After a few minutes my family called and I went home.

White Collar

Today I actually went on the set of White Collar to thank the people that had been so kind and helpful before, what I wasn't expecting was to be absolutely intrigued by the story line, movement, enthusiasm, and such of the people on set.

Just about everyone and their dog stopped to gape (who could blame them, really). I mean how lucky were we all to get in on a stunt scene that is also a flashback. Oh, dear White Collar viewers, I think we are in for a treat.If there was an award for friendliest crew it would definitely have to go to the people because every time I go there (3 times now) I have been very impressed by their professionalism and respect of all the people around them. Thank you White Collar People!

Also, I really appreciate the shows a lot more because now my calves feel like they are going to fall off and I wasn't even standing as long as they were standing. By the way--very few of them get to sit at all!

Thanks! :D

Today, I signed up to be an extra.

So I did it. I finally did it. I applied to be an actual extra. . . (I'll just give you a moment to let that sink in).

I walked to the subway. Went through the turnstile. I got to the building, checked the time (I was early--yay). I walked into the building. I asked the doorman the time. I got on the elevator and went to the 24th floor. I turned right. I walked in the doors. Then I smiled a large smile. A lot of the feelings of fear, excitement, dread, and other assortments of feelings seemed to wash over me. I was doing it. . . nearly fearless.

I am not sure, however that the casting people liked me. They seemed a little annoyed that I actually spoke rather than sat stoically like the other people in the room. It was like we were in a huge elevator--no eye contact, no words, but when anyone sneezed five or six people would immediately say, "Bless you." The only people that seemed to have permission to talk were the people in charge. The minute I tried to break the silence with a soft conversation, they came to get me for pictures. Josh, the boss of the room, took three pictures of me.

A few moments later he came out and made announcements, pretty much going over the pamphlet of papers he had given us.

Then I got ready to leave, shook the hands of Josh and Melissa--the other person in charge (I think that was also a shocker) and left. I got downstairs, saw the rain, and remembered my jacket. So I went and got it.

I know to some this may seem small and perhaps insignificant, but for me, it is essentially the equivalent of me climbing Mt. Fuji or something or a very large undertaking. Now I can join the extra-world a day at a time, maybe.

Yet, I am not convinced this is the best means whereby I can find out all about film in the short time I have allotted. Rather than be an extra, it is likely that I'll go around more and ask the crews a lot of questions. That is what my goal was originally.

Keep checking for further updates!

I met a reality star

Last Tuesday, as I watching them film "White Collar" I was talking to a girl that I think was an extra--but I am not 100% sure. She was telling me about her life in the film/media/webcasting realm. It sounded tough and like an eat or be eaten sort of situation.

She has her own web series and recently became a reality star--on "24 Hour Restaurant" on Food Network.

She told me the importance of going into the field with a business plan in mind. Look into each opportunity with a discerning eye and figure out before accepting if it is in line with your end goal.

My end goal of this adventure is to really see how it is to work behind the camera. How is it to use all the tools of the trade? What drives these people to work crazy hours? What is it that is so alluring? Why isn't there any information available about people working behind a camera, except for some text book that is likely years old pre-publishing? How do we learn about it? Is it good for us to see the magic removed from the film and to see the media as it really is? The list of questions goes on and on.

Yet, when I go and I cannot help but sit and watch fascinated for hours even at what some consider mundane tasks of resetting for a film shoot. I can recognize that it gets tiring after the millionth time. But right now, I just feel blessed being able to go and watch.

Do I expect to join a crew and work like a dog? Nope, not at all. Do I expect to become and extra and stand around pointedly waiting for directions? Maybe for a day or two (I think it would be really fun), but I am not sure it would happen in the next week. Do I think I'll become a movie star? No way, Jose! I love my privacy. I love my family. I love my life. I feel blessed in every aspect. I don't know if fame and I could get along. I might end up with a black eye or something. Money and I on the other hand . . . we'd get along just fine.

Do you want to know why I do what I do?

See here.

Premium Rush, August 19

Today I went to watch Premium Rush I saw (not spoke to) the director for all of 3 seconds. Then I went and started to talk to the people. Then they broke for lunch. I came back an hour later and began to ask questions, but the moment I asked, "May I speak to you for a moment" one of the assistant directors (at least he claimed to be one) came to me and asked me several times if I was a reporter. I told him so many times, nah-I'm a blogger. But he didn't believe me.

Then he said, "We've given you our publicist's number please contact her if you have questions. Please stay over there and do not bother the crew." He wanted to continue and I felt like giving him a doughnut with a fly in it, even though in my heart of hearts I knew he was doing his job with all his might. I held up my hand, smiled my surest possible smile, told him I understood and went to the side to write and try to figure out how I could possibly turn the situation into any sort of opportunity.


Part of me wants to lie and say condescendingly, "I'm from the head haunchoes. Buckle up bud, I'm scrutinizing everything on the set."

Then I would throw back my head and belt out an evil sounding laugh. But I'm not going to do that. But it is tempting. It's the guy with the orange vest hanging out of his pocket.

I wrote for awhile. I did a lot of thinking. I talked with people. I endured second hand smoke for a little while. I observed passers-by. I observed that the longer the people were out in the heat the more it seemed like they began to melt--hair, expressions, etc. People are so interesting.

I was amazed at the amount of machinery they had for filming a stunt scene. Mr. Gordon-Levitt was there riding his bike with the safety of a helmet and his stylish bike lock chain wrapped around his waist.


They had at least 3 cameras. One of them was bolted to a motorcycle. They had a remote camera-person that was riding in the van. It was interesting to see the two different extra cars. When one signs up to be an extra--there is a spot to volunteer one's car as a car for an extra. The 20-minute re-group and re-set-up for a 1.5 minute or less shoot.


I met another OLV (on location vacation) user. It's the website I use to find the shoots. I love meeting them. We often find each other because we're the ones that stand there for more than five minutes. We're also the ones that know "all" about the films before we get to the film sight. Sometimes the people are professional photographers and they are more than willing to tell me how they find the shoot sight and I ask them if they leave comments.

What I learned. . .

Once upon a time there was a crew filming in Madison Square Park. The sun was shining, the swallows were--swallowing. The air was sweaty. Nearly everyone there was either enjoying the filming, enjoying the sunshine, rushing to do their tasks at hand, or were utterly focused on the "scene" at hand.

So do you want to read what I found out? Despite what you may be thinking, I was really there to learn all I can about filming a television show. I just couldn't resist about writing about the very flattering VIP treatment. I also must admit I liked the shocked faces around me when I was summoned. It was so out of the ordinary for me, I couldn't help but like it.

Jamie, the guy in the purple shirt gave me a s'quick (super quick) run down on his camera. What a great HD camera with a 35 mm card and a 12 x zoom lens. Plus it was attached to a marvelous ride on a dolly track and a screen.
Does that make you wonder what family pictures would be like with a camera like that. You'd have to add theme music and have a script for family reunions. Uncle Stan--that broccoli that is nearly woven into his beard after the feast that is highlighted when the Thanksgiving flag football game is on and he gets tackled by Uncle Ned. You slow down the film for effect and you see the broccoli fly across the field and land in Aunt Nelly's beehive hair. (This is just a for-instance-situation. I do not have an Uncle Stan or Ned or Aunt Nelly with beehive hair).

Okay, okay--back to the day. After a few minutes, Jamie decided it was time to hand the question-answering to someone else. Randy, one of the camera assistants for the day talked me through what she knew. Then they all had to leave. I went and asked questions to other members of the crew.
Here are a few of the people I met, in the camera department:
Bally Grip -- shot creator
Camera Loader: Film loader/supplier
Follow Focus: follows the camera (I think)
At one point I actually got to hear the director direct. This is what he said, "Okay, I see the track going here with the long lens. Panning, panning, paaanning." I felt special to be allowed to eavesdrop.


When I asked some of the people if they were doing their dream job, Jamie waxed philosophically eloquent and said something to the effect of, "Whatever you are doing something is always going to look better to you. For example, your husband, what does he do?" I told him. "He probably wants to be doing something different."

Could he read that about my sweetheart, through me, without ever seeing my hubbie? He's probably some kind of genius.
Upon being asked if they are doing their dream job, one or two smiled largely and said, "Yes." Others looked both ways and told me what they wanted to be, rather secretively. I'd tell you, but I don't want them to feel their trust has in any way been misplaced.

Part of me wants to go back in two years and see what those people are doing, just so I can see if they are closer to their dream job. Part me is thinking they most likely will be a step or two closer, if not living their dreams.

It was very interesting to talk to the extras. The people in the video below were so friendly. They decided to be extras because they had retired from their regular jobs, but they wanted to make a little money and they were being green leaving their homes and the electricity they may have used if they had decided to stay home.




I liked watching the boom microphone switch back and forth. On both sides of Ms. Thomason and Mr. Bomer were the cameras I was telling you about. So much work goes into each and every shot. Each small scene takes 20-50 people doing their job, and we the viewers, never see them.

Generally filming a tv show takes between 7-9 days. White Collar, they film usually in about 7 days (quite exceptional). They sometimes call it an episodic.

Adam Goldberg is the guest star of the week.

Andres is the parking official.


The poor P.A.s had no chance of stopping walkers from crossing the streets and the shots. A big part of me wanted to run across the street and start gleefully telling the people to stop in their tracks and enjoy the moment of filming across the street, but then I would have gotten in the shot.

When they are done for the day they say something like "Martini time" and/or "It's a wrap!" After a long day those are the words that the crew people look forward to most.

White Collar . . . meeting the stars

Just so you know, I was not an extra for this show. In fact, I couldn't even work up the nerve to go an talk to the people in charge of extras. All I can say is, I'm working on it.

Let me tell you about my day. I went to Madison Square Park and talked to every member of the crew I could get to. I saw a few of the people from the last time I went to White Collar.

Let's just say it was my favorite filming day, ever.About an hour before they ended the guy in the purple shirt (Jamie)-- motioned to me to come and talk. He said something like, "Who's home with the kids?"

I laughed and said, "My husband."Then he raised his eyebrows knowingly and said, "So, have you met Matt?"

I shrugged my shoulders and said (what must have sounded uber-star struck and coy), "No."

He said something like, "Well, you will."
I kind of nodded my head non-committed-ly and as quickly as possible changed the subject.

I noticed Jamie and the guy with the white, striped shirt speaking together and looking at me a few minutes later. I watch for a moment, but get caught up in watching the director direct.


About twenty minutes later the guy with the white striped shirt comes up to me as I am visiting with by-standers and stand-ins and says very dramatically, "M, M. Your chance will come."I answered with what I hoped sounded partially nonchalant, "My chance for what?"
I could suddenly picture my 5-year-old daughter clasping both her hands together with a huge grin on her face saying, "My dreams will come true?"
The crowd around me suddenly buzzing, "What is he talking about?" " What will come?" "Are you going to be on the show?"He answered, "You know what. Your chance will come." I like to think of that last sentence floating away in the breeze.

I tried to act as though this act had no influence on me whatsoever. But I assure it--it's effect was exactly what he was aiming for-ish.
I talked with a few more people for the next twenty minutes. Then the guy in the white, striped shirt came to me and said, "M, follow me."

So I got up and followed the man. He walked very quickly and it was a bit challenging to keep up with him (I thought I was a fast walker--er--medium at best). He walked through the crew cleaning up with all possible haste and straight to Marsha Thomason and Matt Bomer. Mr. Bomer was surrounded by women hastily taking his picture.
I asked Ms. Thomason if I could get a picture with her. She agreed. Ta Da.



Then, it was my turn to have a picture with Mr. Bomer.

Mr. Bomer: Hi, I'm Matt. What's your name?
Me: M, nice to meet you. (At least I think that's what I hope I said).

Then we turned to get a picture. Everyone had moved. It looked like it was going to be a hand held shot--but then striped shirt guy came back and took the picture. But I had to get my two-bowling-balls-sized bag out of the way. I think it worried Mr. Bomer a bit because I couldn't figure out which side to wear it.

I made sure I did not throw-up or faint (I could just imagine TMZ zooming out of a hidden doorway under Madison Square Park with a camera aimed at us--and breaking news popping onto your television set-- "Fan spews and faints on set with Matt Bomer. Bomer was rushed to his home for an immediate shower. Reports say he is okay--but being tested for every disease that is transmittable via throw-up. Then my picture would come up behind bars. Suspect is being held for questioning--after a drink of OJ for a pick-me-up).

Oops, I blinked. Ugh! Oh well.

I pretty much fled to the subway the moment it was over, but not before I called out lamely, "Thank you. I watch your show every week. It's good."

My guess is that he was thinking, "No kidding, why else would you sit and watch me and the crew all afternoon." But instead he smiled and said with ease, "Thank you."

Yeesh!

Thank you to the White Collar cast and crew for letting me pepper you with questions. Thank you for your professionalism and patience. You made my day--right after my kids and sweetheart giving me huge hugs when I got home. :D

More later. Got to go to bed for tonight.

White Collar (from Tuesday)

This was pre-decision to be an extra. So I did not ask to see the Assistant Director about being one.

When I get there I am greeted with the actual Batman 2 Batmobile. I know. Your heart is thumping like a tambourine that is doing the salsa. The driver of the truck it was attached to said it is going to be in the upcoming remake of Arthur a story about a rich guy that dresses up like Batman and drives (a different) Batmobile into the pole at the end of Broadway and this one shows the results. He meets a girl . . . the rest . . . is in the making.



The boom operator (you know that outside hairy or non hairy if you're inside microphone that floats above the head of the person in front of the camera). The guy in the black is in charge of that--I saw him two days later by Columbia University done filming "Premium Rush" for the day. The lady was probably one of 2 crew members that was a lady.


The guy (Dave) is the stand-in for Matt Bomer, the girl is his friend.


The younger fellow is a stand-in. I am not sure for whom he stands-in. It was his first time. He has a horror movie that he wrote in pre-production that his uncle, a well-known big-wig, helped him get produced and such which is called Clinton Rd. If you see it, know you saw the writer here first. The kid was nice, he said I made his day. Aw, shucks.


Here is the location 125th St. and Lenox Ave. in Harlem.


Felice Diamond and the guy that gave me the suggestion (upon my asking) to use Kerastase nutritive on my hair when it gets humid to help it. Thank you, I already spent a small fortune and purchased some. He let me use his chair when he went to get a refreshment. Then he let me keep sitting in it when he got back. They were very nice and talkative. She did Keri Russel's make-up for August Rush. For humidity and make-up she recommends blotting and dashing with powder when sweating a storm. I have to kind of admire these people because they make all the actors like they just stepped out of a fashion magazine.


Here is the "FBI team" since they are actors they had to remove or cover anything that says FBI on it. So do the police people. They really stayed in character. Check out the looks I was getting as I took their pictures. I think secretly, they were flattered.

This is Billy Dee Williams (a.k.a. Lando Calirissian from Star Wars). I ran to get this photo of him. He was quite gentlemanly to let me take it like this. :D


Most of those people from the pictures above (except Mr. Williams) I asked a load of questions. Like:

What inspired you to do this?
A lot of them had been doing it since they were little and had family that was involved.
How did you get started?
Most of them got started from help from their friends.
Is this your dream job?
Many of them told me it was their dream job. I loved to hear that.

There is a real police officer that stands outside the filming area for all the sets in the city. They are part of a special unit called the "Movie/TV Unit." They arrest people for bugging the set crews.

Overall I think this crew was very nice and I think I talked to at least half of them. They all thought I was a reporter.

This is M. Reporting later from her home computer to you, my faithful blog followers. Until next time. . . may the force be with you.

New Goal: Become an Extra in a Squeaky Clean Flick

The only problem with this goal is that it requires a head shot--you know, like a professional one. Eek! Another problem--most head shots seem to cost an arm and a leg. Suggestions? They also suggested a card. Right. I have bright pink, blue, and yellow card stock. Me thinks I may be able whoop something together--ish. We'll see how it goes.

Here is my non-professional picture. I don't think I look like this often (unless I am totally mesmerized by a somewhat sad thing). What do you think?


Plus, I am a little worried on how to find a squeaky-clean flick. They are few and far between, my friend.

To see the method behind the madness is why I am checking into this whole extra-business.

Pray for me, please. I am stepping into unknown-to-me territory. Eek! Deep breaths. Business cards. Head shots. Two and a half weeks. Breathe. I . . . can . . . do . . . this.

Tuesday, Law and Order SVU

SVU means "Special Victims Unit" when people are involved in crimes that makes most people cringe and some hide their faces. But it was a very interesting experience. Yet, 250 shows later people are still enjoying cringing and hiding their faces (apparently). I saw this show for the first time after I got home on Tuesday although I thought I had seen it before.

The guest star was Jennifer Love-Hewitt (I didn't get a picture of her, but I saw the back of her head when her body guard bellowed for everyone to clear the side walk).


This is Frankie Roth. He is a very nice fellow that has been in the business 35 years. His family was in it since he was a child--the first time "Annie"came out they were involved. Sarah Jessica Parker used to call him Uncle Frankie.

He told me they all work about 90 hours a week. They get there between 6:30 a.m. and leave between 9 p.m. and midnight a lot. What these people sacrifice to bring us quality entertainment, right?

Mr. Ice-T, the intimidating figure standing there next to the lady in the white tank top, seemed like a normal foul-mouthed person off the street. When I arrived, I had no idea he was a big-wig until I heard him talking about himself in third person. Apparently he was put in jail recently because of some insurance reason. He was only in there 20 minutes and TMZ (some society gossip media) was on his case. He felt like he was treated like a regular guy off the street in jail, even though he's been seen on television as the cop. I just realized I eaves dropped that whole conversation. Sorry, Mr. Ice-T, if you ever read this.

Oh, yeah. I also wanted to mention that all those people that swarmed around him to get pictures didn't actually say much to him--like nothing. He didn't say anything either. I kind of felt bad for him and for those people. He may as well put on an Elmo costume and gone to Sesame Place (it's like Lagoon but for kids 8-ish and under).

The guy that stands there like he expects the person in front of him to drop and give him 50 push-ups is Christopher Meloni. He kind of reminds me of a brick wall with a head (not his acting, but the way he looks). I mean that in a good way.

This is Mariska Hargitay. She had a guard who sat outside her trailer. She did not greet the people. But after about 30 minutes of being there I was shocked when a guy directly behind me shouted out something to her. I about jumped out of my skin. Then he said to his buddies, "We'd better go now." They must have been given the you'd-better-get-going-now-bud-or-you'll-be-visiting-the-real-coppers. I know "coppers" is so 1930's but I still love it.

This man is NYC Hollywood's most famous extra, known as "Radio Man." You may notice that most of the films filmed in NYC in the last ten years shows this man at some point or other. That's because he rides around and finds film sets and such, he gets autographs and sells them. That's how he makes his money. This is all according to Frankie, the guy I met that told me all about the filming business for about 1.5-2 hours. It was delightful. He also got me a refreshing bottle of water and talked with another crew member's mother.

Friends With Benefits

That guy with the blue shirt is Justin Timberlake, I am not sure of the girl's name. Each of the crew members I talked with were expecting me to scream with glee when they told me that someone very special was going to be in the film. I knew who was going to be in it, I just wanted to watch the filming.

They had a flash-mob run in (about 200 extras ran in around the actors). After about 20 minutes of watching, talking to the people around me, then looking at the throngs of people running in I suddenly felt claustrophobic and left. It is strange when the subway feels spacious.

Personally I do not believe at all in the concept of friends with benefits. I just went to watch the filming.

Premium Rush, Thursday August 6, 2010

Joseph Gordon-Levitt (the guy with the super-short haircut in the middle)

You can find more about it here. It is the story about a bike messenger that gets mixed up with a dirty cop. This is the scene where he refuses to do the work. It is also the part where the audience is undoubtedly cheering in their heads. It took place a few streets north of the American Museum of Natural History.