Acting In The Background

By Bob Fraser

I frequently get emails from actors who are just starting their acting careers, asking about being an "extra." The most common thing they've heard (which is completely wrong) is that being a "background artist" will somehow stand in the way of becoming an actor in the future. Utter nonsense. 

Think about it. The evidence for this falsehood is never presented. However, it is an undeniable fact that practically every actor in film and television today, has some extra work in their background – pun completely intended.

All right ... back to the mail and a little tough talk for some of you. Don't get me wrong, most of the mail I get is delightful – upbeat, caring, appreciative and a pleasure to receive. Others – not so much.

Here's a letter that fits in the latter category and my answer. I hope it resolves a few of the questions you may have about acting in the background ... and what it has to do with your acting career.

Dear Bob, You say doing extra work is a 'step' for many actors. You said it was easy. Well, you are totally wrong. I registered with Central Casting here in LA and not only did it cost me $25, it was money down the drain. I've tried calling the casting line and it’s impossible, nobody can get through. It's busy all the time. One day I tried calling every 5 minutes for almost 4 hours. Once I got through but when the operator found out I didn't have the wardrobe they wanted she got really mean and told me not to waste her time. When I told her that the movie company probably had plenty of costumes, she told me to wise up. Who does she think she is? I paid my money and I deserve to get a job every so often. These people are just casting their friends and the rest of us never get a turn. By the way, I am a trained actor and it's insulting to be treated this way. Signed, Harold

Here's my answer:

Dear Harold,

When I said easy, I meant easy to understand and easy to do the steps required. Sign up. Call. Get work. You signed up – but then you believed that the next step was ‘impossible.’ Of course it’s not impossible, hundreds of actors do it every day. Hundreds of actors. Every day. Look, Harold, you don't know me and you don't have to listen – but I think you need to be clear on two aspects of an acting career that you seem to be missing.

1.) If you are going to give up at the first sign of difficulty, you are doomed to failure.

2.) You cannot hope to change how other people behave – in order for things to work out for you.

Harold, my friend, you are the only human being you have control over. Your success in the business, in life itself really, is totally dependent upon what you DO. If what you do is give up after the first try and worry about how other people are behaving, guess what? You won’t do the things you need to do, in order to be successful.

Is a professional acting career difficult? Yes. (But then so is every other career – with the possible exception of jobs that require you to use the phrase, "Do you want fries with that?")

Will it take a lot of patience from you? Yes. It takes time to get known by other people in the business.

Will you be rejected a lot? Yes. This is just a fact of life in every acting career.

Will the rejection ever stop? No. I guarantee you that somewhere in Burbank, right now, someone is saying, "Brad Pitt? Nah, he's not right for this."

Are there a lot of people who want to compete for these jobs? Yes.

Are all of them "competitive?" Not really. About 20% of actors don't even bother to show up for auditions. Another 30% have convinced themselves that trying doesn't help matters. (Sound familiar?) Another 25% aren't really that interested in making money at it. 18% have other careers and part-time dreams.

But, believe me, the 7% that are left are very competitive. (I made up these statistics from my own observation – but I would not be surprised to find out they were close.)

Okay, those are the 'facts.' Now what?

Well, you could stop 'building a case' for the idea that it's too hard for you. You could take yourself by the scruff of the neck and remind yourself that this career was your choice. Maybe now that you know it's going to take work to accomplish, you're starting to question your choice. In that direction lies quitting. If you continue to believe what you've written in your letter, you will eventually give up. I’d bet on it.

Is it unheard of that a casting person (not operator) has hired Aunt Millie from Cleveland, to work background on "her favorite show?" No. It happens. Do they give preference to their friends? Sure. Are most of these ‘friends.’ actors? Yes. The big question is really: What does any of that have to do with you?

Other people are getting jobs, oh, poor me. When will I get my turn?

Harold, wake up and smell the greasepaint! This isn't a business of ‘turns.’ It's a silly idea really, like "When will it be my turn to be a shortstop for the Yankees?"

And the real question is, are you going to spend your time bemoaning the state of things – what other people are doing, what breaks they are getting, that it should be easier – or are you going to work as hard as you must to achieve your dream – by paying attention to what you are doing?

All right. Lecture over.

Practical advice: Look, Harold, have you ever heard of speed dial? You know, on your phone? In order to 'score' on the 'lines' you must use speed dial. If your phone doesn't have speed dial, get one that does. To get through, you must keep dialing and dialing and dialing ... if you are speed dialing for 30 minutes or so, you'll get through. Believe me, this works.

I know. I've done extra work.

Next, do not call for something if you don't have the wardrobe or if you're the wrong type. If you do this – thinking you have a better chance to get booked – be warned: You are going to annoy several levels of people; the casting folks at Central, the assistant directors, the wardrobe people, and probably the director. One of these people might think you are clueless. You could get labeled as such. This is a bad outcome for you.

Every movie star (well, practically every one) has worked background. You can bet they were great at it. You want to move ahead in the business? Be great at what you do.

If you agree to do extra work –

BE: On Time. Prepared. No hassle. Paying attention. Working hard. Helping to tell the story. Acting. And you might try finding out about the "rules" of the game. There are at least a dozen books focusing on background work. Would it hurt to read one?

DON'T BE: Someplace else when they need you, talking during a take, not ready when they are ready, late, grazing at craft services all day, a gossip, obnoxious, lazy – and for goodness sake, don't act like the work you've freely contracted to do is “beneath” you.

When you're on the set as an extra (background artist) you have a choice: You can just be an extra – or you can be an actor. All the production people mentioned above can tell the difference.

My advice: Since you are a “trained actor,” then do what you’re trained to do. 

Be an actor. 

Be a conscientious actor. 

Be a dedicated actor. 

Be an actor who is willing to learn.

Those are the kind of actors that casting directors, assistant directors, directors, producers and principal players think of as “friends.”

It’s your move, Harold.