For the Extras of the Movie 1939

"1939"

Hello, if you are here from an email, then I am including all the information that you need to be aware of as an extra for any or all of the film dates.

First off, thank you!  Thank you for honoring the West German Missionaries of the Church of Jesus Christ of Latter-day Saints that evacuated just prior to World War II.  Thank you for being willing to serve and participate. Thank you for you and your willingness.

Now some things to note.  Read this next part very carefully because all of it is important.

What do I need to do first:

1. Send me your selfie or a photo with you and all coming with you.
2. Send me your exact measurements (if you haven't already)--clothing sizes were different in the 1930's:
• women:
• height
• weight
• bust
• hips
• waist
• men
• height
• weight
• pant size, for example 32x33
• long sleeved shirt size, for example, 16 1/2" neck and 32"
3. Email me where you are coming from so I can add it to my sheet so I can give you the best call time figured out by the Key Second Director.

How do I prepare?

Men:  Let your hair grow out but also be willing to let hair and make-up trim it to make it look like the dapper 1930's styles.

Yes, I chose the ones with a smolder look.  Hahahahhhaaaa! 

This guy just looks annoyed, but handsome nonetheless.

Females: 

You will need to come with your hair in tight curls.  Hear a video on how to do rag curls from Laurie Vukich along with FAQ (frequently asked questions). 

Hair and Makeup tips are in the video 

If your hair is really short don't worry too much. Just go for it anyway and you might get a hat. 

1.  Do you have a picture of how you want the hair to look? I have some natural curl and am wondering if I can get the same look with a curling iron.  You may be able to use a 1/2" or smaller curling iron to achieve the same results--or any type of curler that is smaller than a half-inch.

2. So I have hair things that are called 'wrap snap and go'. They do essentially what this video shows. 

3. Do you want us in the rag rollers when we arrive on set or take the rags out before?  Or comb it at all? How much after we do this are we supposed to do?  Come with the rags or rollers in your hair when you arrive on set so they are super fresh. No combing!!  While you are waiting to see hair and make-up then take out the rollers, but do not comb, brush, or finger through. 

Matte make-up only. No eyeliner--or only on the eyeliner (not beyond).  Blush-yes (but not shimmery), bright lipstick--yes and bring your makeup with you.  Eyebrows were thin.

Children:

I love this photo so much--those faces!!  

Children's hair was like the above. Please curl your daughter's hair in the curls (like for women) and boys, if possible, prepare for a bowl cut. We promise you can change your hair when you're done with the shoot.

How long will I be on set?

That all depends on how much the director, T.C. Christensen, has to do that day.  There is a rigorous schedule and T.C. is known as a speedy director/cinematographer.  That said, plan to be there all day or, if I have told you before, into the night--and on some days late into the night. Whenever I tell you to be there--plan for at least 12 hours.  

When will I know what time to be on set:  I will find out from the Key Second Director what time you will need to be there the night before you are scheduled to be on set.  I will not know beforehand and you can rest assured that I will contact you and let you know as soon as I know.  If you email me and ask me when you need to be there, that is okay--but I will give you the same answer as above. If you do not hear from me by the morning of your shoot--text me--my phone number will be in the emails from me.

What do I need to bring:  Please bring your phone and a book or something to occupy you.  It is not unusual to have the hurry up and wait happen on set. It's perfectly normal and to be expected.  Some of the shoots are at night. Please bring a jacket or coat for when it gets chilly.  We won't have any for you.  Snacks will be on set--but if you have specific dietary needs it would be good if you brought your own.

Males:

khakis, 

a pair of work boots,  

a pair of dark oxford type (shoes that tie) shoes

a light weight jacket in med to dark tones 

a vest if he has one

long sleeved and a short sleeved solid colored and print button up shirts

Females:

I will add this soon.

Children

I will add this soon too!

Illumination and Humility

It was during the second week I had an epiphany, thanks to T.C. You see, I was so anxious not to take much of his time, seeing that he was super busy, and he was always surrounded by people that had questions for him, that I would talk as fast as I could and probably not very loud.

I tried to only ask questions when everyone else I had asked said, "That's a T.C. question."

Finally, not being able to understand me, T.C. stopped me and said, "Melanie, I can't understand a word that you are saying. Your words are slurring together. Please slow down and talk normally so I can understand you."  

Photo from Janelle Anderson.  I'll bet you a quarter that each of those people in the photo were waiting to talk to T.C. and were just standing by waiting patiently.  

That request was both illuminating and humbling and in no way disparaging. 

It was also something I could totally do.

I took a deep breath and forced my eager words to slowly come out of my mouth with distinct diction and a bit of a prayer that I would be understood.

It worked.  

I was so thankful to be understood.

It's the little things, people.

The Fighting Preacher Week 1

Written within a month of filming The Fighting Preacher:
I was so nervous before the first day of filming.  The night before, I had a dream where the Savior was on the set.  I felt like the Lord's hand was in the making of this film all along.  There were little miracles that happened here and there throughout.

Now it is months past this and I had totally forgotten about that dream. But I must say there were sweet moments that reminded me that there was a reason this movie needed to be made here and now.  I'm not sure why--but I think the reason will become apparent as time passes.

For the first three days of filming at an undisclosed location in Provo, Utah; I got to be a Production Assistant or a PA.  I learned all the lingo that is associated with filming and how to properly manage a walkie-talkie.  Yes!

I had my own fanny pack equipped with ibuprofen, tissues, baby wipes (can't stop being a mom! So helpful!), a permanent marker, tape, a pen, a small notebook, lip balm, sunglasses, a cooling rag, etc. 

Something that I learned on set was how pivotal a bottle of water was.  For example, one day one of the people on set, not T.C., had not had any water one day.  I was worried because it was in the 90's and this one man would not take any liquid beverage.  One of the main priorities of a PA is to keep everyone hydrated.  After offering it to him multiple times and getting a don't-ask-me-again-vibe I talked to the nurse--she understood my worried stance and had seen me offer it to him--not too many words were involved.  She took a bottle of water from me and talked to him for thirty seconds. He was laughing and took the water and glugged it down. I'm not sure what she said, but boy was I grateful. Mission accomplished, even if it wasn't by me. Whew!

I glamorously kept my water bottle in my back pocket.  I know, you're jealous! [Insert smirky-just-kidding-emoticon here].

I was still working on finding extras at this time. My goal of having all the extras scheduled on day-one felt like a ridiculously over-simplistic goal. I spent half the day on the set PAing and the rest of the day in the office making phone calls madly.  There were certain days they needed mainly men and let me tell you, in Utah men were a challenge to get during a weekday--all day.  Usually, I'd get, "If I could do it on a weekend I could make it."

In my head, I was baffled.  How could they not want to make this historic film with us?! They could tell their grandchildren all about it someday.  They would be doing family history work--in a caliber not often seen these days.  Why not?!  So the pay was a DVD--but, but, the reward of the memory and joy of the service is immeasurable!

Alas, we do not all see things the same way and that's the way it is. I'm good with that. But it was a bit of a challenge when scheduling background artists.

Nonetheless, I was glad to be there and was doing all I could to learn everything I could.

Pre-Film Post 1 and Pre-Film Post 2

Education is yours to obtain. No one else can gain it for you. Wherever you are, develop a deep desire to learn. ~Russell M. Nelson 

Day 1

The long drive to Utah seemed faster than usual.  It was probably because we stopped midway at my brother's house and my children absolutely adore their cousins and played with them every second they could.

But after Grandma and Grandpa O had taken them the feeling of being alone in the car felt so strange.  Like suddenly I wasn't quite me.  Then I looked down at the title of the song that was playing on the radio and I laughed. It said, to my eyes the first time, "It's time for you."  I laughed and read it again, "It's time for bed."  Kids music.  But, somehow it felt like a little thrilling gift.  A gift of reminding me that this is right for me, right now. I'm being guided and directed.

That feeling came again as I prayed this morning, in the car on my way to Provo and few moments into the meeting.

I left early to go to Provo because I needed to go to the store and they have the same store in Provo and I did not want to be late.  They finished their pre-work early and guess what?! I was late!  I can't help that I am directionally impaired--even with a GPS.  I pulled into a parking lot--across the street from the film studio--and didn't see the 1.5-foot tall curb and smashed my front bumper into it.  I heard a crunch, but thought it was more the bumper going over the curb--it was a bit more than that.  Oy! I pulled out of the parking lot and saw these children making shocked faces at me.  I rolled down the window and said, "Does it look bad?"  They nodded in great consternation and their mom came out and helped me snap the bumper back on.

Then I went the wrong way again and called Ron Tanner. He's pretty much a super-mentor. He guided me back to the right place and I walked into the meeting, not the only person late since they bumped it up. Whew!

I was so nervous and excited.  I guess they all know now, whatever I am lacking, I have the enthusiasm to make up for it.

The people working on this film are so nice!  I immediately felt welcomed. Though I should have gone over all the faces on IMDB before I got there.  I met S Lee first and then Ron Tanner who gave me a hug--over 123 emails and a phone call every couple of days for the last three weeks, it felt right.

I have had to cancel several women for one scene that I overbooked. Cringe!  That may be my least favorite part, especially since one extra, Utahna Jessop, worked all day to find people and she found 6 women. I even had to cancel my mom. :/

But, I am still learning and enjoying this.  We read through the script, talked about locations, extras, make-up, and props.

When TC introduced me, he told everyone that I'd sent him a letter. Ron told everyone I was a fan.  TC said that they were watching me to see if I would do something strange.  Ha!  I said I wasn't planning on anything strange.  I honestly couldn't think what to say, but everyone chuckled. No words needed.  Phew!

This was posted over a month after this happened.  

Just when you think I've fallen off the planet...

Fifteen years of stay-at-home motherhood, a master's degree, completion of residency for my sweet husband, a child in high school, two other children hopping through the hoops of middle school, a kindergartener, plus an almost-two-year-old that loves his mom more than almost anything else...that is the current description of my life.

But, for the next month of my life, it is going to be different.

I'm going to be an extra's coordinator/intern/PA for a well-known Utah filmmaker, TC Christensen as he makes a faith-based film.

It may sound like I'm bragging.  I'm not. But, I will say it is a dream come true.  One that has been on the "back burner" of my life for about eight years at least.

You see, I'm a prayerful sort of person. I truly believe I can talk to God and He can talk to me.  I kept feeling that I needed to do something. I knew I needed to contact directors. I had two in mind.  One closer to my house, I hoped, and one that was in Utah doing family history films--which is my goal.

My husband suggested I call TC.  But, sometimes I get nervous talking on the phone and I can really think about what I am writing when I write a letter, plus I can erase and move things about--where you can't do that in a phone conversation.

Every time I sat down to write a letter on Facebook to TC, the Utah one, my mind would go blank and I wouldn't get past, "Dear TC Christensen."

Three months passed.

Then one Sunday night about 10:30 the words just came, pouring through my brain and fingers like they had a mind of their own. In our church, the Church of Jesus Christ of Latter-day Saints, we call that personal revelation.

And then the prompting, "Send it now, before you lose your nerve."

I'd like to say that I would never lose my nerve. Ha!

I held my breath and pushed the button to send it. Then I did a squeal of delight.

And guess what?!  He replied.  He invited me to film a video and send it to him with me telling him about myself. I did. Then he told me that they work with internships, not volunteers. I would get $35 a day in this internship.

Then I got a call from the line producer, S Lee, a few days later and he asked about my interests.

Then I got a call from the producer, Ron Tanner, and he told me I had been appointed the Extra's Coordinator and would get real credit on IMDB.  Whaaat? Sweet!

This week I have been emailing like my life depended on it.  I think it was around 12-14 hours a day.  I have about 150 extras I'm in charge of lining up and getting measurements to the costume department head, Jacqui Newell.

I am accepting this opportunity to work my hardest, learn absolutely everything I can, and am hoping that I would learn just about the same things I would learn in film school.  What film school can you name where they pay you at all, let alone $35 a day?!

What about your family?  That sweet little toddler and all those kids?!  Grandmas and Grandpas are stepping in to parent for a bit--which my kiddos have been absolutely delighted about.

I know it will be an adjustment, for all of us, but I have a feeling that it will be a great benefit to our family, even if it is a challenge right now.

I keep reminding myself, "This is inspired. It will be so fun! I am loving this!"

Even when I overbooked some people for a couple of scenes, I tried to reply as graciously as I could to those wonderful women who were willing to be in the movie for a day for a DVD.  I kept thinking, "I can do this! This will be such a blessing!"

My goal is to remind myself that this is easy, comfortable, and joyful.  Because, in the long-run, it is.

Tomorrow is the first meeting. Ron called to talk to me tonight and I was so excited about tomorrow I was shivering and I'm pretty sure my voice was about an octave higher than normal.  I even told him about my five children.  I think it really surprised him.

Eeek!

LDS Film Festival Finalist

My short film The Phone Call is a finalist in the LDS Film Festival!

I submitted it in January as the first of three film festivals my goal was for the year.

We did it as a family and when I found out I cannot tell you how excited I felt.

My brain has been abuzz ever since. My family has been so incredibly supportive.  Even to the point where they sat beside me as I re-edited the video, made a preview, and made a poster/postcards.

I submitted almost everything yesterday, while my parents were here visiting.

At the acting class I told the class when I told them about myself that I was a filmmaker, even though I couldn't answer the questions that most seasoned filmmakers would know immediately. I have to remind myself over and over, and then in front of the class, that I am learning.

So grateful to have gotten in!

I'm a finalist in the LDS Film Festival. More information to come!

Damon with Actors in Action

A few weeks ago, I went to my first acting class since high school.  I have acted since high school, but I have been in sort of a self-study mode (so that doesn't include youtube classes--okay, serious actors reading this, please stop chuckling).

It was a really great class.

Damon was really professional, although I think I asked so many questions that he wasn't able to get all the things that he wanted to into the lesson.  Sorry, Damon.

But the questions that he answered were very helpful.

He is both a teacher and an agent. You may remember that I wrote about him in the post about Meals for Monologues.  He was the one that laughed during my monologue which really validated my efforts during that moment of heightened anxiety.

One of the things I was surprised to hear was that almost every time people will ask you to tell them about yourself.  He suggested writing up a two minute blip about yourself, memorize it and try to think of at least one thing that will make you memorable to add to the blip so they have something to associate with you.

I think this is really great information.  I am working on my blip and memorable piece of information.

There was a lot more.  I think I will be going agains sometime in April.

When I got there expecting to pay the fee, he told me the first class is free!  Awesome, right?!

This is not a paid endorsement.  Just my own experience.

What to Expect at Meals for Monologues

This morning I headed out to Portland for the Cast Iron Studios Meals for Monologues.  I got there about an hour before the place opened and was the third one in line.  I was a bit shocked because in NYC I went two to three hours early to a slightly similar event and was the 50th in line. 

 I took in some cans of beans.  The requirement was three.  I became friends with the amazing actors, Kate, Linda, and Kat, that were sitting near me. We cheered each other on and Linda, specifically, gave me some really great pointers since I am still new at this whole auditioning process.  She told me don't forget your slate and frame.  For those reading unsure what a slate is, it is when you introduce yourself before hand.  Nearly every time I practiced my monologue, I introduced myself to the imaginary casting directors watching. . . this time I forgot.  Oopsie.  I know I made two mistakes in my monologue, but I did my best at pretending I didn't and moved forward.  I also asked about the framing to find out if it was okay.  

Now for what to expect:

• Get there early--like within fifteen minutes of the start time to get into line.  I saw a facebook message from Cast Iron Studios around 3:30 p.m. that said that they had one more hour for people to come in before they would be out of spots.  This is Portland, not New York, so it's easier to make it into the studio.  
• Bring at least three cans of food with you.  Toys are accepted as well.
• Have your two minute monologue all prepared
• When I walked into the room there were three people there.
• Cast Iron Studios representative, Lana
• Damon--an agent.  They invite several different agents to come and keep time.
• Casting Director, Eryn
• a camera
• lighting equipment
• a computer
• Do your slate (thanks, Linda)--introduce yourself and ask how you are framed by the camera--full-body or what.
• Do not expect feedback--you're just giving them with a taste of what you can do.

When I started to leave, this entire group that came as a studio from North East Portland. When I said, "Do you want to be in a picture I am putting on my blog?" They posed in five seconds flat.   I had no idea I was biting my tongue.

I took in some thank you notes.  I hope Lana and Eryn get them.

Added Later:  I found out that the agent that was there was Damon Jones of the Actors in Action Talent Agency. Just thought you may want to know.

CCTV

 I was able to make it to the Orientation and to the Studio filming class.

  It was a great experience.  I am looking forward to going back and learning more.

The first thing they ask you is what kind of show you want to do and each person has a great idea that they can't wait to share with the other people there and with the people tuning in to CCTV.  

CCAT 29--Corvallis, OR

Since writing the last post.  I found out about the public access station that I can go to and it is actually further away, in Corvallis.  Their website is currently experiencing technical difficulties, but it should be fixed in a couple of weeks.

 I think the classes are $100 a class.  I emailed CCAT 29 and I told them about my experience at CCTV and the girl that emailed me back said that they are very small compared to CCTV and that they are working on their schedule for November.

I forgot to mention that CCTV covers three channels.

Still determined to learn all I can, I am going to go find out about both of these places and I will update you on any new leads.

Thank you to the Grimm film crew for directing me to these places to learn more about filming!

CCTV--Salem, Oregon

In an act of determination and hopefully a touch of inspiration, I went to see what I assumed was the closest public access television station, in Salem Oregon CCTV.

They were super friendly.  They gave me an overview of what their station does and what classes you can take. If you are a resident of Salem, Oregon they have opportunities galore for you.  You could even have your own show on their three stations. Plus, you could check out film, lighting, and sound equipment for free.

In order to do that, you have to learn the ropes.  First you have to take the orientation which is at 3:30 and 6:30 p.m. the first Tuesday of the month.  They offer classes and check-out of filming equipment for the classes that they offer.  The Studio Production Class is free.  Then they have a Camera Class which shows you how to operate CCTV's HD camcorders.  It is a basic class and it is $25.   The Editing Class is also $25 and shows you how to use Final Cut Pro X.

I am hoping that they change their rules, or at least make it possible for me to pay a small fee so I can use their tools and learn all I can.

Remember The Martha Stewart Show? I miss going to it!

When I told them that the film crew from Grimm had suggested I check them out, by mentioning their station specifically.  That made them smile and Arlan Robinson, the man that came to talk to me at the desk and Community Facilitator, joked, "The only way we could get a higher recommendation is if it came from the President of the United States."

When he found out I was an extra he told me about one of the other people that has an Oprah-like show at CCTV in Spanish, was also an extra before.  Then he said, point blank, "What is your show idea."


From all that I have read, if someone asks you that you are supposed to have an immediate response ready.  So I stuttered, "Something to do with family history and stories from the past."

In my defense I don't want to give all the details of my show-in-my-head out casually.  I want it to be official and catered to the listener with complete preparation.

Eventually, it is my goal to have my work to the point where I feel proud to have it on television.  W, my sweet husband, reminded me that my work has to be really good to get on there.  No pressure, right?! [Gulp].

Already my brain is in overdrive clarifying my show idea. I already have part of the first episode story boarded.  Now I have to find a resident of Salem (or hopefully Marion county) to go to the Orientation with me.

Hoping. Hoping. Hoping.

P.S.  These photos are from Brooklyn, my watching Blue Bloods filming (not as an extra) if you remember.

What Would You Do?

We'd gone on the carousel and the train circling the zoo and went to play on the toys. Eventually the boys were chasing the huge Canadian Geese and then stopped to plant trees (acorns).

I was exhausted, not sweaty but perspiring, and hot—it was 83 degrees Fahrenheit in October. We were leaving to get into the car.

The boys ran through a small maze to get out to the road when I noticed three girls picking
on one girl. They were about 14 or 15 and they were shouting mean, awful things at her (gratefully not swearing), but I didn't want my children to see that and I especially didn't want them to say mean things to anyone. So I did what any good mother with two kids would do. [Significant pause.]

I mentioned it to my friend with me She was playing with the kids completely oblivious to it. She listened for a moment and marched right over there and calmly talked to the shouting girls; explaining that they shouldn't be talking to anyone in that way because children were watching, etc.

She was so good I could have started clapping. Instead, I got on my teacher stance—you know the one—the you'd-better-listen-up-because-I-am-watching-you stance. Their arguments against my friend were fruitless and, well, corny.

"You have no idea what is like to be our age. We are popular and all she does is sit in the park and read." Okay, I have to admit I did laugh a little out loud at their arguments (thinking—oh dear is she in for a surprise when she grows up).

https://www.youtube.com/watch?v=If6McCdJIgU We come on around 4:20.

To which I replied in a somewhat entertained voice, "Well, going to Harvard isn't a bad thing." Don't tell me, that is genius, right?!  I am kidding.  But I did say that, I am attributing that to pregnancy brain--I was five months pregnant at the time--note the cute belly.

The girls stuttered, "Well! We're leaving." They marched across the road and into the depths of the park.

I couldn't help but call out, "Just so you know, if you do that again she can call the police and have you picked-up." I couldn't think of any of the right words.

 My friend and I consoled the girl left a little letting her know we admired her strength in standing up to the girls and for her apparent thirst for learning.

Then, we walked a few feet away just in case the girls would come back immediately after we left and our two boys, aged 4, ran to the stream nearby to watch a turtle sunning himself on a rock. After discussing the sequence of events with a little, "Does this really happen in real-life like this?" A woman came up to us and said something toward the effect of, "Thank you for standing up to those girls like that."

You were the first ones to do it in a long time." To which she paused and we said it was despicable or something.

Then the girls came back and said, "It was all fake!"

I replied by giving them hugs and saying, "I am so glad!"

The lady said, "I am from ABC news and what just happened was recorded and if it's okay with you we'd like to interview you for the series in Primetime called "What would you do?"

To which okay friends, this is where my normal level-headed self stepped out for a drink of mental water or something because I was nowhere near my usual mental capacity. I was enough there to think—the boys are by the stream I'd better go get them—but that was about it.

They interviewed me and it went something like this.

Interviewer/her (names didn't stick at all—mental vacation, remember?): Can you tell me what just happened there?

Me: There were three girls, uh-no, four and they were arguing. Well, actually there were three girls arguing at the-uh-fourth girl and it was not good. Is that what you wanted (obviously not).

Her: What were the thoughts going through your head as you talked with them?
Me: Is this real? Do people really do that? Why would they do that here? Sorry (I felt sorry for them coming up with this idea and me seeing through it but not really).

Her: (obviously getting a little peeved at my answers and my daughter beginning to squirm in my arms dropping things and me bending down to pick them up while stepping out of the way of the camera and microphone to check on the boys still coming up with ways of rescuing the baby turtle and the camera man asking me to step to the right--again). Can you please restate the questions in your answer because the audience won't hear me ask the questions.
Me: Er—(bend down to pick up the silky—again), sure.

Weeeeelllll, you get the idea. By the time we were done Sarah was crying, I was feeling a little worried that the microphone man was going to bop me on the head with the microphone, and the boys had come up with a brilliant plan of an underwater airplane to rescue the turtle. But the turtle was really fine because it was just sitting where it's mommy could see it (or something)—the ABC crew member was watching them the whole time—but I don't know them from Adam (as my Mother would say) and I wanted to be sure for myself they were okay.

Right afterward the crew interviewed R and his friend Alex. They told the camera crew all about the turtles and then I had to take Sarah away because she was crying. When I looked back Roscoe was trying to "catch" the microphone right above him. The whole situation was extremely . . . interesting. [Mental mommy cringe and chortle].

In the end, we didn't actually make it onto the screen for that part and my friend seemed so at ease and able to say just the right thing. I was so proud to be her friend!

Do you want to see it?

I know, technically this is acting as myself, but it was on television and I had several friends recognize me.  Also, how wonderful is to to be caught doing something good--even if I was the person standing next to the person doing good. It still counts, right?!

Grimm

 It aired!  And look--they were looking at me. :)  Can you see me?  I had to hug the guy that came and sat by me.  My daughter was shocked that I hugged a complete stranger.  It made me laugh that she was so serious about the fact that I hugged a nice man I did not know.  We had a great discussion though.

 Here is where it was--between 37 and 35 minutes left of the episode.

Grimm

How I got on the show
I am part of extrasonly.  That is the website to sign up for to get onto Grimm in Portland.  You can also give them some ideas of props that you have--like a car.

I submitted my name several times for parts.  The reason they wanted me was for my car, but I'll take what I can get. :)  In New York, if your an extra with a car, sometimes (if not all--I'm not sure) they will have you stay in your car. That is not how it works in Portland.

Seeing the Grimm and Hank
The PA, Amanda, had all five of us who brought cars, to wait in the holding which was in the back room of the restaurant where David Giuntoli and Russel Hornsby (Nick and Hank) were filming. I didn't get to see Mr. Hornsby other than behind the glass separating us, but I did get to see Mr. Giuntoli several times, walking through holding. During filming I was right outside the window of the cafe where they were talking.

I didn't get to hear any of their lines.  But at one point, when we weren't filming, Mr. Giuntoli (the Grimm) looked out the window at the machine that washes the streets and sure enough, he looked exactly like he does in the show--all pensive and deep in thought.  I smiled at him, but he was looking just past me so I don't know if he saw.

What surprised me
The extras on the show were all delighted to be on it, because it was Grimm. They happily said that they had set their devices to record it so they wouldn't miss the show that was going to be on that night.  This is completely the opposite from the reactions of the extras in New York.  Many there said that they didn't even watch themselves on the episodes they were on and didn't know anything about their shows.  Between the two, I prefer the Portland excitement.  I like the show too and it was fun to talk with fellow enthusiasts.

What I learned
Embrace the awkward.  I rehearsed questions in my head driving up to Oregon City for the filming, I told myself that I didn't care how awkward I felt I was going to move forward and ask questions.  Somehow giving myself permission to feel out-of-place and move past it really helped my determination to ask questions to the crew.

I received vocal permission from each of the following people to put what they said on my blog.  That said, I did not record our conversations and hastily wrote down the general idea of what they said--so hopefully it makes sense.

Matthew Barbee, First Assistant Camera: "b" camera
Grimm is usually filmed with two cameras and with action scenes three. Actually, Matt did not tell me that, someone else did, but it gives some perspective.
1.  What is an easy to camera to use when starting filming?
Canon 7D is good for beginners and if you want to spend more try a Canon C300 which is around $13K, but is rentable for somewhere around $200 a day.
2. I have two lenses at the moment--a kit zoom lens and a 50:1.4.  What do you suggest would be the next lenses I should get?  The 16-35mm; 70-200mm; and the 24-70mm, in that order.  They are also rentable.
3. Many people I have talked to say that you just need to get making movies. I have been trying to make a 2-5 minute short a month. What do you think should be my next goal?  Work with other creatives.  People need to see that you can work with others.  Watch other directors and learn from them.

Chris--whose last name I did not get and there seems to be three electricians with the first name of Chris, so if you see this Chris--you know who you are and if you'd like I can change this to your last name.  
1. Please tell me what I can do to get the best results for lighting at the most basic level.
Natural light is the best and is generally the most forgiving. It can be soft. But avoid direct sunlight at noon.  Don't be afraid of the shadows. Colored light is dramatic.  Clear amber is basic Grimm lighting. (Note to self: Now, I'm going to really have to pay attention to the lighting and see if I can tell the difference when I watch the show).

Emie: Hair Stylist
1. How do you know how to do different period's hair? We are given several photos to use as inspiration.

Matt: Head Electrician: May be the best boy--but I could have misheard his name because I cannot find it. At one point he started doing the robot because the electricians had a running joke among them that when one of them was talking to a girl they do the robot.
What is your goal in the next five years? I think I need some ideas with that, could you tell me what would be some good goals? After your work gets better and better consider Public Access television.  You won't be paid for it, but your work will be out there for people to see.  Check it out in Salem, Gresham, MetroEast, Portland and Community TV.  It must be the first showing of what you make.

Todd: Lighting or Grip
Use a reflector when light is behind the subject. It will diffuse light into the face of the actor.  Grips shape light.  If you get a reflection in the window of the lights you use a black sheet of paper. White reflects light. Black absorbs light. A good light to act like the sun shining through the windows is 4khmi-m40 . 

Thank you so much to those who took the time to talk with me and to give me advice.  You are doing great work and what you said meant a lot to me and to my readers!

Top Ten Rules to Being A Great Extra

Having done this a number of times, I now feel somewhat qualified to write a list of rules for beginner background artist hopefuls, but in reality many of these rules apply to any job out there.

If you read nothing else remember to be polite and respectful.

1. Be on time.  This is the first rule from every background artist and their dog (okay, maybe not their dog--but maybe their great-aunt Harriet).  It's no joke.  When late, the production assistant, PA may practically shout out "YOU'RE LATE," this may happen even when, technically you are on-the-dot-on-time (I've seen it happen).  Also, even if the place you were given to go to is 4-5 blocks from holding and where you actually check in, you must plan ahead  because late is late in any PA's language.    One time I left for a shoot two hours early only to find that the address that they had given me at check in was bogus and that the shoot was in the middle of Prospect Park in Brooklyn, NY.  I don't know if you have ever been to Prospect Park, but I want you to know that it is huge--beautiful, but huge.  It took me that entire two hours to find the place where the shoot was.  I was late because I couldn't find it and I still got the stink eye. . . so plan to be way early and guess what else, if you want a part or a bigger role being the first one on the set--bright eyed and bushy tailed, in a manner of speaking, showing that you are ready, prepared and willing is key.

2.  Avoid gossiping, complaining or bemoaning.  Yes, that expert SAG actor may be loudly groaning about the lack of . . . anything . . . the entire time you are on and off set, but don't join in. Even if your sentiments match theirs and then some--because a negative Nelly or Ned never add anything and often detract from the goal of the production. If you're there to learn or to actually become an actor in any league the choosers will hear your whining from a mile away (whining can be done in facial expressions/body language too).  This may be challenging when you're feeling frozen and you desperately want to hop around to get warm. Don't whine. It looks like you desperately need to visit the nearest honey wagon (bathroom).

3. Act like the production means the world to you, because it may not to you, but it does to someone watching you and you will gain their respect by showing you care and want it to succeed. Respect goes a long way in any business.

4. Go above and beyond the call of duty. This means to help out when possible.  It may not be in your job description to help pick up pieces of paper that flew off the set, or to catch a prop that is being blown away by the wind.  But, it will show you are a dedicated person and willing to go out of your way. The head haunchoes may not notice, but it is likely someone on the production staff will--and they may be the future producers/directors/people of influence in the business and they may remember you.  At another shoot I was the only one of 700 people (it was a cattle call) that got down and helped pick up fake money so we could get to the next take--think how much faster it would have been if we would have all helped.  In fact, I helped so much that one of the people on the side asked if I wanted a job (but not in the acting department).

Don't you love all the fake money?

5. Always say thank you and look into their eyes when you say it. They may not have the time to answer, but it matters.  It is always appreciated, even if it is for only a moment. This includes PAs, wardrobe people, crew, catering, other extras who move for you, etc.

6. When you want to talk to anyone on the crew, wait until you get the OK signal. They probably will not beckon you to them or come and talk directly to you, but, like the normal rules of social engagements--if they smile and make direct eye contact with you and do not turn away if you move toward them, likeliness is they won't have a problem talking for a moment. If they act busy, it is not the time to talk with them because they probably are very busy and even if they would like to talk to you another time, are striving to make the most of each moment on set--because each minute has a diamond filled dollar sign attached to it in their mindset (in other words time = money).  Also, do not take up too much of their time.

7. If you want to talk to the principle actors, observe them. If they are talking, in a friendly way, to other extras, chances are they will be happy to talk with you for a few moments.  I wish wish wish I had had the courage to walk up and talk to Tom Selleck on the set of Blue Bloods.  He was talking with other extras and I think I could have learned a lot.  But I did get to talk momentarily to Sela Ward as she was gearing up for a different take in CSI:NY

8.  If you're on set--do not plan anything else.  Seriously, some shoots can go up to 16-18 hours, especially if the directors are finishing up their last days of shooting.  You can get some great overtime.  This includes night shoots.  If you get there at 5 p.m. do not assume that you'll be leaving at 6 a.m.

At one set, I had to leave at 7 a.m. because my husband had to get to work and I had to take the kids to school and be a mom. I was worried sick that if my husband was late, his boss would get really angry at him.  I got the okay to go from one of the second assistant directors.  I walked quickly back to check out, get my stuff, and get home.  But when I got to the desk to check out there were three PAs sitting there chatting.  The tall blonde one in the middle began to yell at me and yelled at me straight for 30-40 minutes, including calling the casting company and yelling at them to never hire me again because I was totally unprofessional and had no excuse to leave early.  In most circumstances like that I probably would have broken down and cried, but I was so utterly exhausted from being awake and standing and trying to stay warm all night for the shoot that I must have had a stupid grin on my face and I could not say a word more than yes or no.  If you know me, you understand that I smile a lot.  Grinning, for me, is a coping mechanism.  He yelled at me until the shoot was done and all the other background artists were coming back to leave.  I checked out as quickly as I could, but he made it really hard for me even to get my stuff.  The whole time, in my brain, all I could think, but not actually say, was something akin to what J.K. Rowling said, "If you want to know what a man's like, take a good look at how he treats his inferiors, not his equals."

I am telling you this, not to complain, but to impress upon you that being there for the whole shoot is really important (I had no idea) and professional.  Boy, have I learned my lesson. I still stay awake some nights remembering it and feeling slightly traumatized.  Never again, folks. Never again will I leave a shoot early--unless it is utterly dire.

9. Don't expect red carpet treatment.  On set, the people that are getting you where you need to be. As far as I could tell PAs are desperately trying to show the big guys that they are capable of handling monumental tasks--like getting hundreds of people here and there with little to no glitches.

10. If they ask for volunteers to do something and you're serious about becoming an actor, be the first, if not one of the first to volunteer.  You may get vouchers that could get you into the union (if you want to be in it).

You can do this.  Some people say that being an extra is the best way of earning money because you're doing nothing.  Let me tell you, folks.  Standing all day and acting a part requires endurance.   You can do it!  You'll be great! Learn all you can and then tell me about your experiences.

Moovie Mic Miller. Star Security. Part 2

Me: What is something that you wish people knew about being security?
MMM: Most people look at you and say you're lucky, I wish I had that job! You don't just get what you wish for.  Not everyone can handle the stress, no matter how much it pays.  You can't just be 6'7" and 300 pounds or have some certificate and think you can do this. You have to be very militant. It's hard. There are long hours! Usually I am there about 14-15 hours a day.  I get there at least an hour before call and stay an hour after wrap.

Me: How do you know when you need to be there? Do they call you and tell you every night?
MMM: We get a call sheet that tells us all the information; like the actors that are going to be there, what is the call time, what scene we're shooting, how many pages, where we will be and everything you need to know is on the call sheet.  It is the most important piece of paper on a movie set, other than the script. If you have a call sheet you don't need to ask any questions.

Me:You always arrive an hour early?
MMM: It depends on the time the talent comes in. If they have to have make-up done it can take up to two hours and I stay near them.  I am always at least an hour early.

Me: How many days a week do you work?
MMM: I could work every day. I can be on several different movies in a day.  You can't always give everyone what they want, because a movie may want me one place and my boss needs me in a different place to help a star that is filming in a difficult place, because of my experience. I can't please everyone, because there is only one of me. I am just finishing a three week break because I wanted to, but before Christmas I haven't had more than three days off at a time in about four years. During the movie Salt I worked every day for five months, I did not miss a single day.  In fact I once worked on three different sets in a 24-hour period: Men in Black 3, Extremely Loud and Incredibly Close, and The Dictator.

Me: Your next job is on The Amazing Spider Man 2?!  Have you worked with them before?
MMM: I didn't work on the first one. They just came for a week or so for the last one. They only filmed outside. For this one, they are filming at the stages here.

Me: Which stages do you work at the most?
MMM: They can make anything a stage. I don't do a lot of work at Steiner Studios because Steiner has a lot of TV shows, but not a lot of the big movies that will only be there six months whereas the TV shows could be there years.  We just filmed Noah inside the Armory in Brooklyn.  That's what they're doing in New York because they use the space where they find it and build a stage, as long as the fire marshals approve every thing. In Long Island, they use airplane hangers.

The most amazing thing about the movie business, to me, is seeing some of the amazing sets they build.  They can build a place that looks like the inside of the trump tower, or the Ark from Noah. They built an outside and inside ark for exteriors and interiors.  That's one of the most exciting things to see is them building sets.

Me: Do you feel like, if they needed you for another part of the crew you could step in and do their work because you've seen it done so many times?
MMM: I can set up the whole electricity for the campers because I have seen them do it so many times. You do learn other people's jobs.  If you pay attention, you learn.  When I started I wasn't doing star security, I watched the equipment and I watched them set up and learned how to do it during my first movie. A lot of getting into this, is who you know. I got the job through a mutual friend of my boss. He gave me a shot and I have been promoted and promoted, and learned and learned.

Me: How did you decide on Moovie Mic?
MMM: It was actually given to me. A couple of people started calling me it and it got picked up. My boss started using it and it stuck with me.

Me: Would you ever consider acting/directing/producing?
MMM: Honestly, I am comfortable. Financially, I am comfortable with what I'm doing now. I've never really wished for anything more, but if the opportunity ever came I would definitely jump on it.  To be able to act or actually make your own movie, being around it; it could be really really exciting.  I don't that is an opportunity that many people would pass up.

A happy thanks goes to Moovie Mic Miller, for the interview and the use his photos off of his Facebook wall.

And that; ladies and gentlemen, as is said at the end of a long day filming; is a wrap!

Moovie Mic Miller, Star Security. Part 1.

Have you ever wanted to have a job that would allow you to watch today's best actors and directors do their work, all day, nearly every day?  Have you ever wanted to have a conversation with a movie star? Have you ever felt the need to defend a movie star? Here is an interview with one of New York City's best security men, Moovie Mic (pronounced Mike) Miller about his experiences on the job.

Moovie Mic Miller being interviewed on MTV News.

Me: Why do you do what you do and what makes you good at it?
Moovie Mic Miller:  It is a perfect job for me. I grew up in a rough area of Jamaica, Queens. I had a lot of cousins and siblings that I protected. It was natural that I am good at protecting other people. Plus the fact that I can get up and love my job, every day.  I look forward to my job!

Me: How long have you been doing this?

MMM: I've been working on movie sets for five years, six years in the spring.

Me: What is your official title?

MMM: Moovie Mic. My job title is set security, but it can depend. If it is a big movie sometimes I am star security, which happens a lot because nine times out of ten I'm with a star.

Me: How does it feel when the movies you helped with come out?  Do you go see them?
MMM: Not always, but if I get put in them, I'll go see them.  Like in  Now You See Me there is a scene with Isla Fisher, Woody Harleson and Jesse Eisenburg. I had a scene in Times Square where I followed them into a huge crowd of people dressed normally, not in all black like I usually wear (so if the camera catches me, I'll blend better). A lot of times I might see myself but I tend to not really care about seeing the movies. As time goes by I'll catch it if I catch it--but I always know what is going to happen. No one likes to go to the  movies with me because I will talk the whole time and ask, "Why did that do that, here?" "They cut that part?! Why?! It was so good!" "Look, I'm standing behind that tree." It can disappoint me a lot.  The last one I went to see was The Dictator with Sacha Baron Cohen, I'm in a scene where all you see is the top of my head.  It's not as exciting as it used to be.

Moovie Mic with Morgan Freeman during Now You See Me.

Me: What has been your favorite thing about doing movie set security?
MMM: It's the relationship you build with the stars.  You may see their bad sides. But you're around them around a lot so you chat with them a lot. They know your name and a lot of times they like to talk with you and that makes it pretty cool.

Me: Do you keep in contact with some of them?
MMM: I have numbers for a couple of them.  But sometimes we stay in contact through email, like Jeremy Renner. You know he's a big 49er's fan, I'm a Giants fan so when I was working on Bourne Legacy we had a little rivalry thing going on. I keep in contact. They always remember me because a lot of them I work with over and over like Ben Stiller, Eddie Murphie, and Mark Walberg.  I don't really try to keep in contact, but I do keep in contact with a lot of their assistants.When I see them out of work, out on the sidewalk, they'll come and talk to me and say "hi."

Moovie Mic with Eddie Murphy.

Me:  What can be the most challenging thing?
MMM: It depends. A lot of people would say that it is the paparazzi  That's not always the case. Sometimes it is the elements.  Sometimes I feel like I am a robot because I can't always go to the bathroom when I want to. Sometimes I'm sitting outside a camper for an hour or so while they are in there, especially if there is rain. It can be challenging.

Me: Which set has been the most challenging set to be on and why?
MMM: The most challenging set would definitely be Tower Heist.  It was a cold winter and we had very long days, especially the last month.  We had a bunch of 20 hour days, not being able to go to the bathroom, standing all day, at least half of it in the cold. It can get a little challenging like that.  Brett Radner, he's no joke!

Me: What is the scariest/most exciting thing that has happened to you while being security and why?
MMM: During Men in Black 3, Will Smith ran into a crowd of 300 people and that made me nervous.  I mean, I have to watch the stars like I watch my four year old daughter. How would you feel if your child ran off into a crowd of 300 people?!  I had to fight my way through to keep my eye on him, that was kind of scary. Not a lot of people do that, but Will Smith, he's that type of guy. He shows a lot of love.

Me: Speaking of Will Smith, remember a few months ago when that guy ran up to him at a premier and tried to kiss Will Smith and Will Smith kind of slapped him?
MMM: I wasn't there for that, that's the stuff we go through. It's like the CIA a bit, because those people don't want to hurt the actors, you know, they're fans, they're just weirdos; a little too obsessed with these actors.  I wasn't too surprised. People are just crazy.

I was doing Noah and we were filming out in Long Island and my home girl, Emma Watson was there. She had a stalker that followed her from her mom's house in Great Britain to Toronto and to Long Island.  We actually caught him in the woods, where he had walked up to her with a note. We got him away and I asked him, "What's the problem? Are you okay? Are you alright? You don't sound very normal, following someone  from country to country.  He was like, "I really felt like I just wanted to give her some advice. She's making some decisions in life and I thought that I needed to let her know she was making some bad choices."  He's just an over-fan. People like him, feel like they know the actors because they watch them on TV.  I feel very sorry for some of them.  Some actors don't mind if fans want have their picture taken with them, just don't come up and try to run up on them and try to kiss them.

Me: Who were/are the people you were most excited to meet?
MMM: It's funny, because I'm not really excited to meet anyone because I see them as regular people. Maybe it is my professional attitude. I'm not a movie buff or a star struck type person.  I have been around some really good, kind-hearted people that made me excited to be next to them.  I can stand up for them and let people know, that some of them are genuinely the kindest people on the earth.  Like Russel Crowe has a reputation, I guess because of the phone incident.  One my friends thought he was awful, and I told him that he's one of the kindest people I've ever met. A lot of people don't realize they're every day people like us. They just have bigger bank accounts. They're only human and they work very hard. It's not all as glitzy as everyone thinks. They work long hours and a lot of times they work in all kinds of weather, out in the cold. It has been a pleasure to meet them.

Moovie Mic and Russel crowing during the filming of Noah.

Me: If you could advise people who are interested in pursuing your career, what would you tell them?

MMM: It's not as easy as it seems. You have to be really tough. You have to stay in shape. You have to be ready and militant.  You must stay focused and watch.  You have people coming and asking questions all day. You don't want to be rude, but sometimes you tell them you can't talk right then and they get offended, but you have watch the talent, even if people get offended.

Me: What has been your favorite set so far and why?
MMM: My favorite set I have ever worked on was Extremely Loud and Incredibly Close. The people were so kind. Sandra Bullock is one of the nicest human beings on the face of the earth. Tom Hanks is very down-to-earth and very funny in real life too. A lot of people don't get to see how funny he is.  Some actors are only funny on the screen, but he's got a great sense of humor.  Max Von Sydow is very kind. It was Thomas Horn's, the one who plays the young boy, first movie. Scott Rudin, the producer, found Thomas Horn on Kid's Jeopardy.  That combination of cast with the crew, everyone from the producers to the crew was the greatest possible fit because it was a really long movie--about six or seven months.  With all that talent we all became very comfortable together.

Moovie Mic and Tom Hanks during Extremely Loud and Incredibly Close.

Me: What are the most common questions/answers that you get from curious people?
MMM: People always ask first, "What's the Name of the Movie?"  If the movie title is really long, like Extremely Loud and Incredibly Close I may shorten the title for those people to Extremely Loud.  "Who's in it?" and in some neighborhoods "How long are you going to be here?" I always get that one on the Upper West Side.

Moovie Mic and Sandra Bullock during Extremely Loud and Incredibly Close.

Me: Which neighborhood in the five boroughs has been the best and worst to work in.
MMM: Midtown Manhattan, from below Central Park/59th St. to 42nd St. from 8th Avenue to 5th Avenue are the worst because they are so crowded.  The best are the easiest ones, like the mansions--especially the mansions in Long Island. I have to go all over the mansions and look at all the area before I take the stars there, like the CIA with the President.

Moovie Mic filming Deception in Long Island, photos by Moovie Mic.

Me: What is one of the most surprising things you have learned being security?
MMM: The whole movie experience. Yes, I am security but being around the set in the beginning, it surprised me how many different groups that have to come together to make a movie. It takes lighting and security and props and set and everyone to make a movie work.  It shocked me how much work it really is to make a show.  Everybody's job is important in its own way.  If one person is slipping everyone has to make up for it on set.