Man On A Ledge on Madison Avenue

Elizabeth Banks and Sam Worthington (aka: The Avatar guy)

I should have known when my agent, Desiree, asked me if I was up to doing this stint for 2 weekends –that it was going to be something grueling. And it was… 5:AM calls, for which, I had to get up at 3:15 AM… or so I set my clock, and then promptly turned it off in my sleep-deprived delirium. Of course my wife –who happened to get up at 4:AM nudged me to remind me about this gig.

And then I realized... WHOAAA! ---- I'm gonna be late?!!!

Kyra Sedgwick, cop, ME-the one with the bright face- and Sam Worthington

And in 10 minutes I took my shower, dressed and was out the door and into my car. I was no longer deliberating on whether or not I should take a train from my home station. The drive from my house to the city on the empty roads was a marvel of delight! I was there and parked at our 45th street and 2nd Avenue holding area in under 40 minutes.

Why I rush to these early calls I’ll never know. The line was out the door and the hundreds of extras that were slated for this scene weren’t finished being processed for another hour. But a commitment is a commitment –and I stick by it.

Holding was a kind of an unfinished store with a second half-floor overlooking the 1st. It had exposed girders and lot’s of cement dust. But it was able to hold the large band of extras –many of whom (us non-SAG bg’s) were corralled to the cramped, untabled, darkened, second floor. This is such a bunch of hooeyfied discrimination. SAG gets to be in a spacious floor with tables and the rest of us get to cramp up in a cave-like dwelling. Reminded me of the beginning of 2001:A Space Odyssey –where the apes are huddling inside a cavern. First come, first served -I say!

Three madeup Hassids

One of the production assistants went around to ask if anyone wanted to be made up to be a Hassidic Jew!? Three old guys were "chosen" –and it took about an hour for the makeup experts to affix the appropriate facial hair to make them look authentic. Luckily there were 2 real-deal Hassids they could copy from. Other exotics were Sikhs and Moslems.
(Gosh… I hope it’s politically correct to call them “exotics” -since the rest of us were ND's?!)

We were finally called to set a little before 7:AM and placed in bunches along the four corners of Madison Avenue and 45th Street, near The Roosevelt Hotel. This is where “the ledge” was going to be… about 20 stories up. There was very little oversight for us bg's and we tended to wander over to wherever we wanted to -unless we were selected to do some "feature" work (but only the cute girls get picked for that)!

Michael Laurence

I wound up on one corner the first day doing the "crowd below does cheer and fist-pump" action for the man on the ledge. There was a taxi in front of us and the scuzzy-looking guy sitting on it looked familiar. I inched up to him and asked him if he was in the last season of DAMAGES. He was glad that I recognized him and we chatted for a minute or two. As it turned out, he was playing a scuzzy-looking guy again in this scene also. His name was Michael Laurence -an upcoming star.

Sam was our hero and confidently tethered through his clothing, as were the other ledge-walkers (cameramen, stunt dudes, other actors, etc.)... but it was still a scarry sight to see Sam sit on the corner ledge and dangle his feet while waving to the crowd below to react to him. 20 stories below, an airbag awaited any wardrobe-malfunction problems that might suddenly occur.

Man on a Ledge throws money to the extras

The "jump" was done in 4 takes: two for the stunt-double, who was raised about 30 feet above the bag via crane and cable; and two takes following with Sam doing a 10 foot backward-falling dive from the crane's ledge (sans tether). We were viewing this from our new places -next to an ambulance that was constantly on and sending carbon monoxide into our immediate area. We complained to the nearby PA to tell the ambulance driver to turn the motor off... he then called another PA with our complaint...who, in turn called another PA... until finally, the 4 th PA behind us came over to us and asked "What's the problem???". When we explained and showed him the exhaust we had to stand near, he shrugged his shoulder, spoke into his walkie-talkie and no one did anything. Since we were all getting a bit dizzy, we decided to take our safety into our own hands and joined another crowd -far away from the ambulance. No one noticed. As I said before, oversight on this set was very poor. Where are the union-reps when you need them?

Director Asger Leth

But we background extras are a hearty group and when we "smell" action coming up -we persevere! And action it was... as Kyra Sedgewick and Ed Harris came on the set. The director with the very understated persona was Asger Leth. He was friendly enough and even posed for the crowd toward the end of the day. Only the physical scenes seemed to animate him -as he went over to Ed and Sam to explain how he wanted the fight-movements to take place.

Sam Worthington fights with Ed Harris - ME at extreme right

The scene was Sam Worthington slugging Ed Harris while Kyra, as a newswoman, interviews him during his aggressive arrest by the army of cops. For some reason, Kyra kept laughing everytime after this scene ended. Ed Harris got the worst of it -as his clean beige suit got dirtier and dirtier on the back after each take. I was worried for Ed... he looked very skinny to start with. Maybe it was because of his age... or maybe it was to make him look more evil for the part he was playing... or maybe because of all the cigarettes he was smoking on set??? Nonetheless, the makeup department always fixed him up and he survived the dozzen or so rough takes.

At one point we were placed around Ed Harris' Mercedes and told to react to the fighting. Later we were taken away to the remotest parts of the set as tracks were laid down for the camera to shoot from "behind" us (albeit without us). An hour later we were taken back to the car, only to realize that a different set of people were already there. As we tried to insist that "we were here first" a fight almost broke out between two girls. One of them getting really nasty -cursing and ready to poke the other gal in the face. (As I always say: The real show takes place behind the scenes!) I blame this all on the crew who did not insist on having "continuity" in the scene. We were about 8 feet away from the principal characters -so our faces were definitely associated with the scene. But how will it look when all of a sudden you have different faces in the background a second or so later in the film. Very poor oversight on this set.

Though there was ONE good thing about the poor oversight... the paparazzo's were rampant -both internal to our set and externally (freelancers and tourists) . No one could control the incessant cell-phone cameras from sneaking photos of the stars and the scenes at just about every juncture... even during the takes. This resulted in me being able to find a couple of pretty good photos on the web... the very next day! (So, for us extras, the papparazzi is our friend.)

Our legs were killing us -we had to stand for most of the 10 hour sets over a couple of days of shooting. Ten minute breaks afforded us a few cups of coffe to stay awake form our sleep-deprived stupor. And lunch was a "boxed lunch" -for most of us who were non-SAG; the union guys got hot food downstairs while we had to watch them eat from our upstairs cave. But I chalked it up to practicing "humility" and hung with my fellow extras in communistic endurance... waiting for "the REVOLUTION"!

Got into an Italian film: IL GIORNO IN PIU

The title translates into meaning "The Extra Day"... and that's exactly what I did. Took an "extra" vacation day to be in this gig.

Visions of Frederico Fellini wafted through my egotistic mushy brain. Half expecting some surrealistic dreamscape as my background -but as it turned out, it was Times Square's bustling crowd across the street from TKTS and in front of McDonalds on a relatively gray and chilly Monday. Very close to where my paying-job takes place!

Fabio Volo

The love story was based on a book written by the main actor, Fabio Volo. Apparently he loses a letter that was meant to be sent to a girl he needs to meet. But having lost the envelope with all the pertinent info about her -he is lost. Fortunately for him, a hot dog vendor finds the letter and intercedes in some way to bring them together -albeit after some comical romps.

Massimo Venier

We were taken to this set and summarily selected for the "hot dog vendor scene"! My luck still held out as the director, Massimo Venier, chose me (most likely because of my long beige scarf). They wanted someone who was wearing "something light colored" as opposed to the drab blacks and grays that most of us sported (as per wardrobe instructions in our call sheets).

And so it was me and the "intermediary star" of this film, the hot dog vendor, who would be the centerpiece of the film maker's camera lens... and the gawking tourists, at least for an hour or two! I kept fantasizing about my co-workers walking by -alas, that didn't happen!

The direction was to have the vendor serve me a hot dog on a bun (I never eat that stuff -but then, that's part of acting strange) -and as I accept it, he sees some signage on a van that he must note down immediately. I fiddle with my pockets -vainly searching for some change while he mugs surprise and intense discovery. Our exchange is friendly enough, but I suspect the only thing that will be in the film is my hand accepting the hot dog... if that much!?

After wrapping up, I headed for the train -down the same path I usually take for my regular job and soon get a call from my agent. She asked if I could be available for tomorrow because they wanted me back... since they didn't get the shot... since it was getting too Autumn-dark.

Such are the foibles of rescinding Daylight Savings Time: night comes too quickly (especially to my movie career). I was already booked to do something else... and couldn't return.

A Russel Brand of ARTHUR for 2011

A very different Arthur from the one in the 1980's... Russel Brand kept sniffing "booze" from a plastic water bottle in order to keep his "spirits up" -so to speak. And as the wedding scene wore on through the day and into the night at New York City's St. Bartholomew's, Russel became totally inebriated -which made his "strip scene" a totally fall-down drunk success!

(When the movie came out, I got a few microseconds of face-time.)

Yes folks. Russel took it down to his blue "tidy whities" for the big finale! And managed to prance back onto the set to do it over and over and over... ugh...and over again. Supported through it all by our background "noises of aversion" as wedding guest extras.

It was the big "rebellion" scene. But quite frankly, it was Jennifer Garner who made the most of it all. Walking elegantly down the aisle with her "daddy" played by Nick Nolte. And later as the punch-throwing angry bride in response to Arthur's objection to their wedding at the altar.
When I first saw Nick Nolte, his powerful role from Rich Man/Poor Man immediately popped into my mind. And of course the subsequent newspaper stories about his substance abuse and rapid decline from his heyday as a strong actor. His presence as Jennifer's tough-guy father dressed in a fancy tuxedo was way too passive. But looking into his face just a few feet away from us was memorable. More so for me because he resembled my Uncle Louie -and for a few moments I was lost in those fond memories of playing chess with my now deceased relative.


I was hoping that Helen Miren (as Arthur's faithful and worldly butler) would be there also -but alas (and a definite lack), the scene did not call for it. However, there was a cute bridesmaid at the altar who resembled Maggie Gyllenthaal a lot. So much so that I needed verification that it wasn't her, from my daylong companion on my left, Christine. Christine was very definite: NO! that's not Maggie. Nonetheless, I kept staring at the poor actress all day -perhaps in hopes that Christine was wrong!?

In the vein of my personal philosophy regarding the best seat in the house (personal quote: "The real show goes on backstage!") was most brought to life during this stint. Primarily because of the kookie couple sitting behind me doing the "running commentary routine" about every moment with the stars. They violated every rule in the "extras book" and took photos of everything with their phone-cameras as the scene was being set up, being filmed -and pretty much at any time they pleased. Their phones would jingle at odd times... they'd carry on conversations while filming was ongoing and chat with the actors between takes... etc. AND NO ONE EVER CALLED THEM OUT FOR IT! The usual "punishment" for getting caught taking pictures or bugging the stars is instant ejection from the set. But the stars were generous with their time and attention to the extras -so, as it turned out, everyone had a great time.

In one instance Jennifer took advice from one of the "wedding guest" extras sitting on the aisle regarding the necessity for everyone to "stand up during the bride's walk" down the aisle. Jennifer openly spoke to the director, Jason Winer...
...and the correction was immediately instituted. Later Jennifer saw that we were beginning to nod off from our long stint inside St. Bart's not-so-comfortable pew sitting, so she asked us to do the "WAVE" (you know, the one done at baseball games) -and it worked. We were all a bit more alert for the final takes, at the end of which, Russel (covered by a robe), gave a short "thank you to the extras" speech. That was unexpectedly nice (given his sniffed-up mental state)... but we were all very tired and, while appreciative of the recognition, ran out of the building to stand on the voucher line, which was now hundreds of extras long. The total stint was from 7:AM to 9:PM. And we, non-union extras, only got treated to a cup of water and an apple -and a walkaway lunch (read: buy your own) from the chincy Warner Brothers.

RUBICON bears crossing at AMC

James Badge Dale and Miranda Richardson

My agent finally sent a bunch of castcall notices, one of which was for an upcoming summer TV series called Rubicon. She’d been out sick for quite a few months, leaving us to dig in the dirtpile offerings of Craigslist. With Craigslist you never know what’s reputable and what’s not. Unfortunately, the “what’s not” portion is the larger pile. So when my agent’s notices arrive I’m relieved to know that it’s a real gig.

I did my usual research of what the series was about and clipped a few pix from the internet of the principal actors (so I’d know who they are when I’m on the set). I find that by doing this little chore, I’m looked upon as the “more experienced one” among my fellow background peers during our chats. For some reason, very few bg people do this –but I find that it gives a much greater appreciation of the work I’m involved in.

It was a 10:00 AM call near the South Street Seaport. But this was only for checking in and getting your wardrobe approved. We could either wear a dark suit or a tux. I brought both and was approvingly told that the suit I was already wearing was perfect. The wardrobe guy asked if I had a comb. This was a question I hadn’t ever been asked yet. But when I answered in the affirmative, I was told:

“Good! Just keep combing yourself every now and then.”

And an hour later we were taken to the set near Wall Street. It was an old building with old-money furniture. We were to be background guests in a drawing room at a cocktail reception for a millionaire’s fund-raiser. The plot of the series was about a young think-tank worker who discovers that the organization he’s working for is somehow involved with influencing word affairs (in many ways similar to another TV series called “Alias”). Be that as it may, I was paired up with a distinguished looking gentleman with a long silver ponytail. While chatting, he told me that he was a well to do businessman selling cosmetic products and that he’d done some bit parts but wasn’t a member of SAG yet. One of his anecdotes dealt with an altercation he had with Julia Roberts. Apparently Julia was snippy to him and he told her off. Probably an argument over the SAG vs. non-SAG people at the lunch counter.

The principals in the scene were Miranda Richardson and James Badge Dale (lead). But as the scene kept getting shot from different angles, a couple of other familiar looking actors joined the entourage of principals. And this is where things started to get frustrated –because we’ve seen these minor actors before but we just didn’t know their names… and the problem was that none of the crew knew them either. Angst! The good news is that my co-starring extra and I were positioned close to the action –right where the principals were walking by. Then suddenly one of the PA's came over to clarify the "unknown" actor's name: David Rasche -a very active actor (most recently in Ugly Betty). And the other one was Arliss Howard, who plays Ingram, JBD's boss on the show.

Anyway, it was episode #5 entitled “Connecting the Dots”… and the airing date will be around late August – September 2010 on the AMC channel. And I, for one, will be crossing the Rubicon (unless I wind up on the cutting-room’s floor)!

Epilogue:The episode aired Sunday, 8/22/2010:

As James Badge Dale walks by on the left, I'm chatting with the silver-haired gentleman on the right. Even got a decent closeup...yesssssss!

EPILOGUE: During my stint on Man on a Ledge, as I was waiting for my car to be brought out of the garage, there was a man in front of me on his cell phone saying "...and RUBICON got cancelled!". And sure enough... sadly, it was.