THE BLUR IN THE BACKGROUND
June 30, 2013
Hunched over my fake booze, holding my fake cigarette, I waited for the call of action from director Nelson McCormick.
The scene being shot would involve two Dallas patrolmen coming into Ruby's Carousel Club. There would be a short exchange.
I gathered it was going to be something along the line of the two cops revealing that Oswald was going to be transferred later on that day. They would reveal the time and location thus setting up the scene in which Ruby walks directly up to Oswald and shoots him point blank range.
Sounds like a quick shot. Right?
Actually there would take after take, from a variety of angles. Cameras would be moved and lights would be adjusted.
We, the extras, were removed and taken to a holding area. Then we were brought back in and then we were taken back to the holding area.
For the last shot, the cameras were situated near Ruby and the two cops. Aside from the bartender Tony, I would be the only other actor on set. Me. The lonely bar-fly nursing his drink as a halo of fake cigarette smoke swirled around me.
A prop guy placed small pieces of what looked like candied burlap in the ashtrays around me and lit them with a lighter. Within seconds, swirling snakes of smokes filled the bar area.
I sat hunched, talking to myself, one cowboy boot on the floor, one on the stool, minding my own business as Ruby and the two patrolmen talked.
We did several takes from a variety of angles.
My drink was refilled. More tiny pieces of burlap were burned. Siesmaszko cracked jokes with the prop phone to his right. The bartender, Tony, wiped glasses with a white towel and busied himself with bartender busy work.
Now, I don't know how much I will be seen....how visible I will be when Killing Kennedy airs. I maybe edited out when all is said and done. I have to be imagine I will be one or two shots. There were cameras all around me. As corny as it sounds, I am excited at the prospect of seeing myself on national television in a movie.
The cowboy I had been given became a point of contention, that is to say, the placement of my cowboy hat became a point of contention. No matter where it was placed, whether to my right or left on the bar, it seemed to throw off the composition of the scene.
*Interesting side note: When I first sat down at the bar, I placed my hat down upright. I was surprised to hear a technical adviser say: "Turn the hat back over please. You never put a hat like that upright. All the luck runs out. Plus it's bad for the brim."
Good to know.
My mother was right. really do learn something new every day.
It was finally decided the hat would have to go.
Director McCormick walked up behind me, touched my shoulder and said, "Lose that, will ya?"
"Of course."
Consider it lost, sir.
We did a few more takes and then McCormick shouted "Cut! That's a wrap!"
The call of "That's a wrap" echoed throughout the set on everyone's walkie-talkies.
I was done.
Done.
Done.
I knew I was probably done for good now. Production was set to end on July 3. As I stood up from the bar and placed my fake cigarette into an ashtray filled with charcoal black pieces of cloth...and as the last traces of smoke dissipated...I slowly walked off set to the holding area.
The sun was bright. A little too bright actually after having been inside the darkened nightclub.
I squinted, hearing my cowboy boots click on the sidewalk, and made my way to the holding area.
On my back outside, knapsack over my shoulder, I saw Nelson McCormick.
I walked over to him and extended my right hand. He took it and smiled.
"I wanted say thank you," I said. "This was my first experience working on a movie and it was a great experience. You run a great set. The whole atmosphere was just so positive."
Or something like that.
He responded by telling me that I did a great job. He didn't need to tell me what to do-I just did it. He remembered me as the Lead Trauma Doctor and told me that me and my trauma team had done a great job. Then he thanked me and said this was his first experience too, with a movie like this. As we stopped shaking hands he told me to take care and to keep it up, that I was a natural.
Well that made it all worthwhile. Right there!
The director remembered me and was happy with my work.
We were told we were wrapped for the day and we all gathered our belongings and headed back outside to wait for the shuttle buses. We all chatted excitedly about our day like kids ending their last day at summer camp.
Two buses would be needed to take us back to base camp.
I grabbed a seat in the second along with several of the principle actors including the dancers, the bartender, the two patrolmen and Siesmaszko.
Back at base camp we all changed into our very 2013 clothing and waited to be checked out by wardrobe. We signed our paperwork so we could get paid. And then, finally, we all said our goodbyes and headed to our cars.
I knew I wouldn't be back.
It was a little sad.
~
I know not all my experiences will be like the one I had working as an background actor on Killing Kennedy. It would be nice but it's not realistic.
I know not all directors will be as professional and cool-headed as Nelson McCormick and not all sets are going to be as calm and organized.
I will take my future experiences, one by one as they come and roll with the punches.
I think that's the key to this extras thing.
Roll with the punches.
Be professional.
Do as your told with as little or no drama at all.
Don't be a diva. Don't be a dick.
Be friendly. Be yourself.
I can't wait for my next adventure.
This is exciting. It really is.
Onward and upward.
November 22 seems like a hundred years away.
Keeping it as reel as I can.
Copyright 2013
All Rights Reserved
Hunched over my fake booze, holding my fake cigarette, I waited for the call of action from director Nelson McCormick.
The scene being shot would involve two Dallas patrolmen coming into Ruby's Carousel Club. There would be a short exchange.
I gathered it was going to be something along the line of the two cops revealing that Oswald was going to be transferred later on that day. They would reveal the time and location thus setting up the scene in which Ruby walks directly up to Oswald and shoots him point blank range.
Sounds like a quick shot. Right?
Actually there would take after take, from a variety of angles. Cameras would be moved and lights would be adjusted.
We, the extras, were removed and taken to a holding area. Then we were brought back in and then we were taken back to the holding area.
For the last shot, the cameras were situated near Ruby and the two cops. Aside from the bartender Tony, I would be the only other actor on set. Me. The lonely bar-fly nursing his drink as a halo of fake cigarette smoke swirled around me.
A prop guy placed small pieces of what looked like candied burlap in the ashtrays around me and lit them with a lighter. Within seconds, swirling snakes of smokes filled the bar area.
I sat hunched, talking to myself, one cowboy boot on the floor, one on the stool, minding my own business as Ruby and the two patrolmen talked.
We did several takes from a variety of angles.
My drink was refilled. More tiny pieces of burlap were burned. Siesmaszko cracked jokes with the prop phone to his right. The bartender, Tony, wiped glasses with a white towel and busied himself with bartender busy work.
Now, I don't know how much I will be seen....how visible I will be when Killing Kennedy airs. I maybe edited out when all is said and done. I have to be imagine I will be one or two shots. There were cameras all around me. As corny as it sounds, I am excited at the prospect of seeing myself on national television in a movie.
The cowboy I had been given became a point of contention, that is to say, the placement of my cowboy hat became a point of contention. No matter where it was placed, whether to my right or left on the bar, it seemed to throw off the composition of the scene.
*Interesting side note: When I first sat down at the bar, I placed my hat down upright. I was surprised to hear a technical adviser say: "Turn the hat back over please. You never put a hat like that upright. All the luck runs out. Plus it's bad for the brim."
Good to know.
My mother was right. really do learn something new every day.
It was finally decided the hat would have to go.
Director McCormick walked up behind me, touched my shoulder and said, "Lose that, will ya?"
"Of course."
Consider it lost, sir.
We did a few more takes and then McCormick shouted "Cut! That's a wrap!"
The call of "That's a wrap" echoed throughout the set on everyone's walkie-talkies.
I was done.
Done.
Done.
I knew I was probably done for good now. Production was set to end on July 3. As I stood up from the bar and placed my fake cigarette into an ashtray filled with charcoal black pieces of cloth...and as the last traces of smoke dissipated...I slowly walked off set to the holding area.
The sun was bright. A little too bright actually after having been inside the darkened nightclub.
I squinted, hearing my cowboy boots click on the sidewalk, and made my way to the holding area.
On my back outside, knapsack over my shoulder, I saw Nelson McCormick.
I walked over to him and extended my right hand. He took it and smiled.
"I wanted say thank you," I said. "This was my first experience working on a movie and it was a great experience. You run a great set. The whole atmosphere was just so positive."
Or something like that.
He responded by telling me that I did a great job. He didn't need to tell me what to do-I just did it. He remembered me as the Lead Trauma Doctor and told me that me and my trauma team had done a great job. Then he thanked me and said this was his first experience too, with a movie like this. As we stopped shaking hands he told me to take care and to keep it up, that I was a natural.
Well that made it all worthwhile. Right there!
The director remembered me and was happy with my work.
We were told we were wrapped for the day and we all gathered our belongings and headed back outside to wait for the shuttle buses. We all chatted excitedly about our day like kids ending their last day at summer camp.
Two buses would be needed to take us back to base camp.
I grabbed a seat in the second along with several of the principle actors including the dancers, the bartender, the two patrolmen and Siesmaszko.
Back at base camp we all changed into our very 2013 clothing and waited to be checked out by wardrobe. We signed our paperwork so we could get paid. And then, finally, we all said our goodbyes and headed to our cars.
I knew I wouldn't be back.
It was a little sad.
~
I know not all my experiences will be like the one I had working as an background actor on Killing Kennedy. It would be nice but it's not realistic.
I know not all directors will be as professional and cool-headed as Nelson McCormick and not all sets are going to be as calm and organized.
I will take my future experiences, one by one as they come and roll with the punches.
I think that's the key to this extras thing.
Roll with the punches.
Be professional.
Do as your told with as little or no drama at all.
Don't be a diva. Don't be a dick.
Be friendly. Be yourself.
I can't wait for my next adventure.
This is exciting. It really is.
Onward and upward.
November 22 seems like a hundred years away.
Keeping it as reel as I can.
Copyright 2013
All Rights Reserved
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