UMLP... starring Hugh Grant‏

Hugh Grant

Don't you just love those ambiguous projects where you have no idea what you're getting involved in -you just go because... it's there (and it pays).  This was one of those excursions, albeit with a pleasant surprise.  Hugh Grant was the big star and from what some of the other extras were saying,

Marisa Tomei

Marisa Tomei was in it as well. The working title, "Untitled Mark Lawrence Project", was in honor of the director.

Marc Lawrence

Holding was at a new studio experience for me, SIR STAGE 37 on the west side of Manhattan near the Javits Center... in fact, the set WAS the Javits Center!  It was scouted to be an airplane terminal for both New York and LA!

I was just here the other week with my wife for the car show and now I was here to be in a Hugh Grant movie.  But no one told us what the movie was going to be about.  The best I could surmise from the two scenes that we had to wear dark and subsequent light clothings for, was that of a lonely traveler, Hugh, who was apparently some kind of a celebrity in his own right.  As he passes through the fake airport screening devices and collects his shoes, the airport guards all want to shake his hand!?  Unfortunately, I was not near enough to the dialogue to hear anything definitive.

Hugh was strictly business.  He didn't interact with any of us -only the director et al.  He kept his head down and seemed rather sad. His signature gestures of constantly running his fingers through the hair was missing. But the day went by quickly.  I met a few friends from previous gigs and helped a young Ukrainian girl with her first-time-as-an-extra experience.  She was relatively new in the US, had a green card for her ID and spoke English with a heavy accent.  I also met a tall middle-aged woman who was an "inventor" of an "immigrant control process" (an interesting juxtaposition with my Ukrainian friend) and held the patent which she'd been trying to hawk to government agencies for the past 12 years.  She ran out of ideas so I recommended that she take her "cause" to one of the NYC radio stations that holds an open forum for various types of political discussions.

Another woman was having problems with getting work after she joined the SAG-AFTRA union.  I've heard  of this before, from my more advanced extra-friends.  I suppose the cost of the extra pay for union members makes them somewhat less viable for regular work selection.  I could only advise her to complain to her casting agencies (maybe the squeaky wheel can get some oil... or work, in her case).  Unfortunately, this aspect of bg-work discourages me from wanting to eventually join up with the union. But I still need my 3rd waiver before I mull that over again!

The 2 scenes went quick and we were fed a regular warm lunch followed by deproping and a wrap-call! And, I might have another gig on Sunday to another one of those mysterious "project" titled shows: "The Untitled Columbia Pictures Project".  Ahhhh... the working life of an unaffiliated extra.

ROYAL PAINS in the ice

HankMed Team: Paulo Costanzo and Mark Feuerstein

I didn’t know if I was going to make it to this gig at all! 

It was on the day after I did The Ordained, which went very late and I only got an hour’s sleep before I had to get up in the cold morning chill and prepare a few clothing-change options for this shoot at a relatively nearby Long Island location.  I was foggy and bleary-eyed as I rushed a couple of haphazard “summer outfits” into my clothing bag.  As it turned out, the shoot was at Oheca (rhymes with Bohica) Castle in Woodbury.  

Oheca Castle's "back yard"

The scene was that of a fashion show, and we were all to be a mix of fashionistas, models and wait-staff.  My light jacket and white pants passed muster but had to be accessorized with a rainbow-tie and colorful pocket handkerchief.  The wardrobe guru was pleased and I was now part of the glitterati procession –which included some very attractive tall young female and male models dressed in various expressions of bizarre fashion.   And then the atmosphere got more bizarre.

An announcement was made by one of the PA’s that the shoot was an all-day exterior scene and that we would be paid and extra $250 for our “commitment” (CA-CHING!!!).  It seems that a bunch of extras had already left because none of us were told that we would spend our day outside in frigid, albeit sunny weather –in our SUMMER CLOTHING!?!  The exodus of extras was stalled when the extra-pay-incentive was announced.  Nonetheless, some had decided that being outside in mid-30 degree weather was just not worth it… and packed up to leave.  A new announcement was made that we could wear our winter coats in-between shoots and that other amenities would be provided to keep us warm (chemical heating pads for our hands and feet).  That seemed to calm most fears of the upcoming inhumane working conditions.  The rest of us were greedy enough to risk compromising our health for the extra cash.  I stayed because I wanted to experience the environs of Oheca Castle and ogle the shapely models.

Sam (and the rest of us) trying to stay warm between takes

A few hours passed by and we were all taken to the set outside and placed on our 1’s.  It was breezy and the occasional gusts were making it a frigid experience.  As each of the scenes started up, we had to take off our winter coats and “act like it was the middle of summer”!  At first it was bearable as we all walked about an opulently fountained lawn area that had a round cat-walk at its center.  Models would parade on top of it as a pretty-golden-panted blond “dress-designer” took her bows for the new line of coordinated-shmatta-shiek.  Some of the principals (Mark Feuerstein et al) would dialogue and the rest of us just jaunted about the pebbled paths with mimed obeisance.

Extras with coats between the "summer scene" takes

I was paired with an interesting man, Sam –who as it turned out had a Russian accent with a passion for speaking French and discussing philosophy.  During our chilled waits for “ACTION!” our topic drifted toward the question of whether humanity is getting better or worse.  He explained that he and his wife were optimistic about the future of humanity –I was not.  I put the blame on the ever-increasing world population and the Earth’s diminishing resources.  Eventually, humans would have to compete desperately for food and at that point most of us would be reduced to our brutal “survival instincts”.  Other dour examples provided by me were the ever-increasing mass-murders in recent history a la the “intelligent proponents” of Nazi Germany (doctors, scientists, writers) who intentionally destroyed millions of lives, Stalin’s brutal murders of his own people, today’s terrorists and the lack of compassion in general for the human individual (perhaps inspired by our shivering as the incessant retakes of our scenes continued into the evening hours). 

Fortunately Sam was a good conversationalist with stimulating topics that also provided some laughs and word games which diverted our attention from the gusty cold, as well as the scene specifics that were robotically proceeding around us as time flew by.  By dawn we were frozen and each time we were allowed to go inside to warm up, there were less and less extras to be found for the next scene.  As a few of us were picked for an exterior evening shot, the rest of us were thankful to have been passed over for selection.  We sat around our holding table drinking warm fluids and chatted incessantly (about several “meal violations”; and where was the union representative when we really needed one…).  But the chatter was energizing and it was as though life had returned into our frosted bodies.  Unfortunately, I felt my nose start to get stuffy and a deepening in my voice as laryngitis began to kick in.  The cold temperature exposure and the lack of sleep from last night’s late gig had culminated in my getting sick.

The first to be dismissed were those who had come by bus.  The rest of us, who self-reported by car would have to wait for another two hours before it was felt that our usefulness for the day had been tapped out.  After our vouchers were approved and signed, three of us extras banded together to walk to our cars in the pitch darkness of the cold spring night over Oheca Castle.  It was a few minutes walk to the lot, but we all felt great at the prospects of getting into our cars and turning on the HEAT –basking in the joy that we would be warm bodies again… and contemplating the real meaning of ROYAL PAINS.

Party time with THE ORDAINED in the Bowery

For a while, my ride into the city on the Long Island Rail Road was restful, until the conductor informed me that the train was still a “peak-time-train” and that I would have to pay the extra money for the appropriate ticket.  I should have taken the later train and risk missing my call time of 10:30 AM in the Bowery section of Manhattan.  I should know better by now… that it takes a while to process people and that being late by half-an hour would be “acceptable”… but I just can’t bring myself to do that.  I’m a stickler for keeping my engagements on time. I guess that would classify me as an obsessive compulsive personality –but the truth is that I love a challenge and like to achieve my goals as planned… or in this case, “ordained”.

I arrived camera-ready in my tuxedo at the tightly spaced holding area of China-town’s Ukrainian church! The PA’s were cordial and smart so the sign-in processing went fast and soon we were taken over to the set at the old Bowery Savings Bank (an 1895 Roman Revival landmark desgned by Stanford White). It was yet another New York City legacy building that had been converted into a Cipriani-style banquet hall going by the name of Capitale.  Huge Corinthian columns on the interior were holding up a vast 65-foot high ceiling above marbled floors that was now complete with hanging stage lights and speakers.  The scene was to be that of a fundraiser gala for the latest Hollywood version of a New York City mayor… played by Hope Davis in a shapely red dress.  There was no doubt who the center of attraction was  going to be.

  

I had seen Hope in a successful Broadway play with James Gandolfini, Jeff Daniels and Marcia Gay Harden (God of Carnage).  She was very good albeit the least known of the four at the time.  With a serious countenance there’s something about her that is reminiscent of a young Hilary Clinton… a role that Hope already played in "The Special Relationship" back in 2010.  Perhaps she's starting to get the ole' political typecast treatment.

Hope and Hillary

The PA’s paired us up with partners to sit at the banquet tables.  My partner was a pretty blond, Nicola, whose origins and consequent accent hailed from South Africa.  We chatted it up and felt comfortable with exchanging acting stories.  Although she had studied and done acting, she confided that this was her first experience as an extra.  When I told her that she looked a lot like the actress Jessica Chestain, she admitted that she didn't know who that was!?

  

Nicola

A short time later, one of the attractive black women standing nearby also remarked to her that she could easily be a stand-in for Jessica.  Now her interest in Jessica Chestain was really aroused! I expect she'll be IMDB-ing her soon.

Jessica

The woman continued the conversation with my partner, asking if she had an English or Australian accent.  Upon revelation, the black woman said “So you’re really an African-American!”.  Laughter and friendly banter ensued.  It was a replay of a former pronouncement made by Charlize Theron during an interview on a talk show.  This gig was a particularly uplifting experience for me since I was constantly paired with attractive women.  It brought back memories of when I was a kid going to school, and how much I got a kick out of sitting next to the prettiest girl in the class room... or anywhere else for that matter!

Soon this show began to roll and we were given direction to mingle around the party room at various tables.  We were eventually placed next to where Hope Davis’ scenes were taking place with her “brother” played by Boardwalk Empire’s Charlie Cox.

Charlie Cox

The story line was that he had left the priesthood in order to become a lawyer so that he could be near to... and protect his sister, the mayor, from an assassination attempt.  There were kids in the scene and even a baby…. which was a recipe for lots of repeat takes.  That, and the director’s finicky indulgence toward perfection, made the day… and night stretch out… to 2:30 AM.

director RJ Cutler

The subways don’t run too often at this time of the night and I didn't want to risk missing the last train out of Penn Station –which might have caused me to wait an extra 2 hours for the trains to begin running again. I decided to take a taxi to Penn Station and caught the 3:10 AM home for some well-needed rest.  After getting home at 4:15 AM , I had to check my email first –and lo and behold there was my confirmation check-in number for tomorrow’s gig on Long Island.  By the time I organized my info it was 5 in the morning and I had to set my alarm clock to 6! 

It’s just… Us and Them

Mandy Moore

The casting agency called me the day before to keep calling back for a gig in a new pilot.  I was apprehensive to do any background work due to a minor medical procedure I had a few days ago.  But I was feeling better and wanted to get my mind off of worrying –so I persisted in calls back to the agency and they came through.

US and THEM is the name of a new ABC TV pilot starring Mandy Moore of singing fame –unfortunately, she wasn't in today’s scene.  She’d been transitioning toward acting in the past few years, doing cameo roles and now landed the lead role of a newlywed in this show.  “Us and Them” refers to the distinction that she is learning to make between family members, friends and others -and the ensuing emotional complications that arise whenever allegiances need to be made.

Call time was for 7:30 AM at a Greek Orthodox Church near the movie house set.  I got there an hour early to avoid any lateness due to the notorious Belt Parkway traffic from my home, as well as to make sure I got parking.  Two other extras had the same idea and we commiserated about how nothing was set up for us (i.e. breakfast) and the brutally cold weather that just didn’t want to leave –even though we were now into the days of Spring. To warm ourselves up, we walked down the block where we found an open McDonald's and I suggested we go for the $1-any-size-coffe they were hawking on the billboards.  An hour later crafty got set up and we all had a second helping of coffee along with a sumptuous choice of breakfast goodies which included a veggie-juicer option.  Drinking that vegetable juice while it’s still fresh, is like feeling renewed life injected into your body!

While waiting to go to set I was surprised to find that the young woman at the next chair was studying to be an environmental lawyer.  She was very keen on all the “green issues” and proceeded to inform me about every one of them.  Another woman sat down and began to discuss how necessary it is to have your own business and to diversify your activities (she was both a tour guide and a real-estate agent)!?  Remarkable. You can learn a lot from these impromptu lectures while sitting around in holding.

Our role was to be movie patrons watching a movie.  Some of us were spread around 2 of the principals, arguing in the middle of the movie.  The funny part of this whole set up was that the regular movie shown in this theater was continuously running while the crew was filming us. 

As it happened, the movie was “Identity Thief” with Melissa McCarthy and Jason Bateman –with the sound turned off.  Nonetheless, we could all follow the story and couldn't help cracking up laughing at inopportune moments of the US and Them filming… the director had to keep admonishing us not to laugh since it interfered with their shoot.  The movie house was rented for only a short period of time and the rumor was that the automated film-schedule that’s usually in progress at this theater couldn't be interrupted –hence the freebie, albeit silent movie… whether we wanted it or not!

Scene setup inside the movie theater

After hearing this, we knew it would be a real short day.  And it was!  They paid us for the whole day and released us by noon.  I got home at 1:30 PM.  No lunch on set but that was OK with me… lunch at home is always good to look forward to.

Murder In Manhattan –who cares?

Bridgette Regan with friend

Rush call again to a new pilot entitled "Murder in Manhattan" with Annie Potts and Bridgette Regan.  After checking out their bios on IMDB, and getting some arousing reviews from my son about her role in "Legend of the Seeker", I was really looking forward to catching a glimpse of Bridgette.  The pilot’s story dealt with a mother / daughter detective team.  Zzzzzzz.

The first scene was an upscale restaurant –across the street from where we filmed Alpha House just the other week.  The majority of us extra were put in the shadows at the back of the restaurant as “atmosphere” for the main action which was Annie Potts toasting someone of something.  (I remember Annie Potts from "Ghostbusters" and "Designing Women" -her performances are always memorable.)

 

Annie Potts

We were all too far from the center of the main activity to know anything about the scene, and no one told us anything… only a tall PA kept screaming at us to “SHUT UP!” (How rude?!)  We “gentle extras” usually don’t get that kind of a treatment from our “hosts”, and it immediately put us into a bad mood to be treated like that.  Not a good portent for the success of this project.

The second scene dealt with us being pedestrians as red-haired Bridgette and her dark-haired female companion walk by in conversation.  It was an exterior shoot in front of the Hippodrome Building near Bryant Park and the weather was chilly.  Bridgette was stunning but somehow transparent… as though she didn't effect anything. Her companion said something about “sex” and gesticulated as though she was frustrated.  That’s about all I caught as we were told to walk past them. 

Later on the wind kept kicking up, and some of the others began to sneak into the lobby of the Hippodrome to take refuge from the cold.  Luckily it was a short day –we were released at noon!  Great… but the lingering feeling here was that there was no sense of caring about this project.  For some reason, working on this set gave me one of the most meaningless sensations I've ever encountered.  Joy Behar expresses this sentiment best as: "So what –who cares... so what?"

First... and probably the last impressions at the Actors Studio

A triple appointment day –very rare for me to be that busy these days.   In the morning I had to go to Brooklyn’s Steiner Studios for a fitting to be on the 4^th season of Boardwalk Empire.  I was cast as a “political dignitary” going to a Chicago mayoral rally… that goes bad.  Excellent!  But it took them 2 hours to get me into the correct fitting of a 1924-ish suit.  Most of the delay dealt with getting “remote approval” via iPhone photos from the head wardrobe lady, Lisa.  She wasn't on site and I found out later that her dog, Gus, had been run down by a car.  I remembered Gus from my last fitting here.  He was special in that he was part of the “wardrobe experience”… I’ll miss him.

Finally, I got out and made my second appointment on Long Island… barely.  The third one would be in Manhattan, the Actors Studio.  I called them a long time ago to be put on a waiting list for going to one of their plays and finally got the invitation.  I was to be one of about sixty or so people in the audience.  A few of us arrived early and were trying to figure out which of the three doors to enter.  They all seemed to be locked.  But since the show wasn't starting for another hour… I decided to seek a place to hang-out.

After walking around the block for a while to kill some time, I decided to settle on a small “hole in the wall” wine bar across the street from the studio.  It was appropriate to my mood –the name of the place was “Wine Escape”.  I went in and sat down at the nearest chair by the lengthy bar… chatted with the only other  patron while the bartender poured me a glass of fantastic Malbec.  It was a busy day for me and I needed the calming atmosphere that this low-lit place provided.  Soon I was nibbling on olives, a bit buzzed and really didn't want to leave.  But more patrons were arriving and suddenly the place was crowded.

Reluctantly, I left the bar and went over to the studio on the other side of the street.  After figuring out which door to enter, a rather surly elderly man immediately asked if I had my invitation.  Luckily I brought the copy of the email, presented it to him, and in his brusque manner (sans “Hrrrumph”) efficiently checked me off his list.

James Lipton

So… I was finally here –HERE, inside this theatrically historic method actors’ “shrine”: THE ACTORS STUDIO! I was almost feeling the ghosts of Marilyn, Marlon and Newman and James Lipton... ooops, not James -he's still  doing live acting (albeit strange).

And while I gazed around the small living-room-like-lobby, I spotted a Craigs-List-special-couch that looked very inviting.  I sat and watched more people arriving… and one of them was now next to me, sharing the comfy-now-cozy couch.  We chatted a bit and he told me that it was his wife who really dragged him here.  He was a lawyer and he was just taking it all in stride.  I was disappointed.  I was sure he’d be one of the actors attending “The Actors Studio”.  He seemed like one -but maybe it was just my wine-induced wishful thinking.

An interesting large sign on my right side attracted my attention.  Hanging on the wall was a kind of “credo”… a “mission statement”… perhaps even a warning of sorts in “must-readable” large type, stating (visions of a town-crier) that everyone here was “working on a volunteer basis”.   Hmmmm, it kind of reminded me of the School of Practical Philosophy, where I once met the actor Remak Ramsay. Here, I just took in all the impressions created by the modest furniture, the low-key understated atmosphere and the “people-of-all-ages” crowd who were gathering in this small "lobby-scene".  And then the lights flashed, and an announcement was made to take our seats.  Entrance to the theater was up a very narrow set of steps -so it was a while before we all got settled in.  We could actually take any available seat as there were no seat assignments.  Very democratic.

I sat in the front row near the “narrator” of the play.  There was no “stage” per se –only an open area with some chairs, a low table and a set of screen-dividers, the type that could be used for privacy to change clothes (in the play they were used to symbolize a ride in an elevator).  The seat-rows were staggered in height so there was no problem seeing for those in the back.  There were also two balconies on either side of the theater.  It was plain –one had to realize that it was all about the actors… and their interactions with each other, the minimalist props and ultimately us.

The play entitled “Existing Privilege”, started with a short announcement from the narrator about the time and place of the scene.  The actors came out in more or less plain clothing… carrying their lines in a black loose-leaf book.  I didn't expect it to be a reading.  At one point in the play, one of the actors had a different version of the lines than the others.  She began to “break character” and started to share her partner’s book –looking down at the “expressive” lines, barely getting through her part without cracking up laughing.  The play seemed to center on a development of relationships both political and sexual, but the characters were somehow miscast and it was difficult to feel anything for them or the story-line.

What can I say?  It was a play “read-through”… not great… just a play.  Meh?  

But my bigger disappointment here was that I had “expected” both actors and directors to be “rehearsing”, and the director to give various types of coaching to the actors, from which I and the rest of the audience might have learned something about “stage acting”.  But no.  I was attending a reading rendition of the play –and not an actual “teaching session” that I had hoped for.  The intermission was pretty good –they had free coffee and yet another narrow hallway (eventually leading to the bathroom), with photos of many of the legendary actors who studied here. Very museum-like.

Marlon and Marilyn

The play eventually ended with a bang (one of the characters got shot).  The audience mulled around -quietly putting on their coats.  I was not inspired, didn't sense any "method" -and so I left and reflected only on the fact that I’d been to the legendary Actors Studio, followed by another reflection of my short time at the Wine List bar across the street… each had its own effect of a dulling sensation on me.  

Chalk it up to an "eventful day".

SMASH with a bang, boom and a crash!

Thank you, thank you, thank you for the cast call to SMASH.  I've been wanting to get on this ever since it started... heard all my background friends talk about it but I just didn't score.  At least not until the last episode: the TONY awards episode!!! And it was worth the wait -big time.

My first day was for a "fitting"... a fitting of my own tuxedo on the hangers.  But I got paid to take the quick trip to Broadway Studios in Greenpoint, Brooklyn.  Wardrobe was located in the holding area and there were several people in tuxedos and gowns sitting around waiting to be called to set.  Ten minutes encompassed showing the wardrobe department my outfit for a quick approval, and filling out my I-9 form.  As it turned out, I sat down at one of the tables where a young bald man appeared to be conversing with "someone".  Problem was, no one was listening to his jovial tirades.  But he seemed to be having a good time!? At one point I saw him snacking on a box of "blue food" called Peeps.  They were artificially colored marshmallows that looked like little "chicks", which he literally kept stuffing into his mouth  -one after the other so that his cheeks were bulging like a hamster's as he gradually gulped them down.  OK?  I quickly handed in my form to the PA, who informed me that I would be needed for the next 3 days.  YESSSSSS!

DAY 1: Call time was 1:30 PM to the holding area at Broadway Studios.  The whacky blue-food-eating guy was still there so I felt reassured.  I arrived camera-ready in my tux and soon we were called to the set that was situated an the ground floor.  I walked in with about 50 other extras when I saw it:  the big SMASH sign hanging above the mock-stage that I've been watching with my wife on TV ever since the show began.  We were randomly seated -and then came the "icing-on-the-cake" moment.  A dance number was being performed with the two major actors.  Megan Hilty and Katharine McPhee... right there in front of me, second row, center stage!!!  My view was spectacular to say the least -and I didn't care one whit if I was going to be seen on camera or not (in the final edit only our heads were seen from the back -in silhouette).  But I was in ecstasy watching the two girls come out in their matching gold mini-skirted outfits, bantering with each other.  Katharine came out first followed by Megan. Upon seeing Megan's exact match of an outfit, she quipped, "Bitch stole my outfit!"  Laughter galore roils through the crowd.

The scene was the TONY awards ceremony and the last show of the 2nd season.  Background dancers were practicing on the stage... perhaps a bit more exuberantly than their tuxedo pants would allow.  Two of them had to change pants (on stage in front of us) and one even had it sewed while waiting for the scene to start.  The musical number sung by the two girls was "Always leave 'em wanting more"... (I know I did, even though they did a bunch of retakes -everyone of which was a gem.).  Our part as audience extras was simply to react.  DUH?  I felt like I won lotto to be lucky enough to be part of it all.

Breakfast at the crafty tables

Lunch was a walk-away (i.e. get your own food) but I didn't mind.  I had spied a sheeky-trendy coffee shop up the block and was looking forward to sampling their cafe latte.  So I put on my pea-coat and scarf, went to the stairs and as I scampered down, both Katharine and Megan were coming up. Eyes met and I thought I might have seen Meghan linger a glance at me a bit longer than... (but it was most likely wishful thinking).

DAY 2: Call time was 10:30 AM to the Millenium Hotel in Manhattan.  About 500 extras were called for the big audience scene at the Marquis Theater down the block on Broadway.  I arrived early and had a quick check in.  Not so for the other hundreds who followed.  It would be another three hours before we would be taken to the set.  Wardrobe and makeup checks for most of us was a quick glance from the pros and a quick approval.  Crafty was nearby outside the hotel and I got my breakfast before the big crowd would find their way here.  I'd already planned out my walk-away lunch to one of my favorite Indian restaurants a block away -in fact I was looking forward to it.  Unfortunately, lunch occurred very late in the afternoon because we were called to set and used for "tiling" the theater.  500 hundred people moved around at least six times to make the theater look full on the final cut of this scene.  I found it tiresome because none of the principals were on set.  It was an all-day deal without any thrills to pick up your spirits from seeing the celebs in action.
After one of the many re-seatings, I landed next to and got to chat with an elderly woman, whom I sort of recognized as being in various bit parts on other shows.  She'd been in the acting business all her life and her interest in being an extra was strictly to get a few extra buck$.  Her take on being an extra was that it really wasn't acting and that if you really want to be an actor then you have to keep going and going on auditions and taking acting classes... pretty much for ever!  I knew she was right.  I told her I liked doing the extras gigs and that my highest ambition in this business at my stage of life was to land a well-paid commercial gig.  (I could have told her that what I really wanted was to get the part of a future yet-to-be-written screenplay of a Star Wars character, that of Admiral Thrawn... but that might have been a bit too "off-topic" for her, and could have potentially caused the immediate ceasing of any subsequent conversation between us. )

DAY 3: Snow...wet...wet...SNOW! And like a dummy, I walked from Penn Station at 33rd Street to 44th Street, getting myself drenched (kind of). My coat, my shoes, my hair, all of which was "camera-ready", was peppered with large flakes of quickly-melting snow.  Which eventually melted my "persona" and eventually ten blocks later, I felt like a mess in motion.  I really should have taken the subway for 1 stop but felt like I needed the walking exercise and so I persisted with my trek uptown.  Mess or no mess, the wardrobe and makeup still only gave us a passing glance and ok'd us for the scenes!?  You just know you're not going to be seen on camera when they take that attitude.

The wait in holding was long but eventually they herded us over to the Marquis Theater to reprise our roles as audience-atmosphere at the TONY awards show.  But this time, the major characters of the story were sprinkled around us.  The first scene was with Christian Borle and Debra Messing.  Their roles were to chit-chat with each other and being bored out of their minds, resigned to not winning anything.  But of course their names are called and they suddenly realize that they've won.  Debra lets out a melodious laughter as she and Christian rush to get their TONY with renewed enthusiasm.  I was placed a couple of rows to their left but near enough to watch them between takes.  Debra was very natural and very pretty in her gown.  Borle was way too serious and stoic -and much taller than I expected.

The next scene was Anjelica Huston and her on-screen "boyfriend", played by Thorsten Kaye -who looked much younger in person than on screen.  They are supposed to walk down the theater steps after being announced for an award.  There were numerous retakes and the combination of long gowns and long steps took their toll. Anjelica trips and almost falls (not part of the scene).  You could see that her usual composure was shaken.  But a few pats of makeup and hair adjustments put her in the right mood again.  At one point she even interacted with an elderly extra who profusely complimented her.  She in return gave him a Hollywood-peck on the cheek.  Pernicious envy and gossip whispered through the crowd of extras for most of that scene -albeit in a friendly way. It happens whenever a principal interacts with us.  Vicarious living is under rated.

A few rows away sits Anjelica's on-screen bastard-of-a-husband played by Michael Cristofer.  I had been in another series with him, Rubicon, which was cancelled. He's a terrific heavy in many of the roles he plays.  Subsequent scenes included Jeremy Jordan, Katharine McPhee, Jack Davenport and the cute Krysta Rodriquez.  Katharine also trips on the steps as she, Krysta and Jack leave the theater early -perhaps in disappointment.  At one point the director asked to wake up one of the extras sitting in our row.  He'd been sleeping through the scenes and Jack, in his Astralian accent quickly and humorously ratted him out -"Oh! There's the bloke.  Wake up...".  The sleeping extra stirred but not to consciousness.  The scene continued nonetheless.

So this "last day" was a real star-studded episode.  You kind of felt that it was the grand finale for SMASH. Rumors among the extras was that the show's second season was not as good as the first -and consequently suffered in the ratings.  The word on NBC was that they had been making some bad decisions on show cancellations -and this show might fall into that category as well.  Too bad.  My wife and I love the show for  its content of multi-talented actors as well as for the terrific songs performed -and the twisting story lines.  One of the elderly female extras told me it was mostly watched by women.  And after I polled some of the guys I sat next to about the show, I found she was mostly right.  None of the men knew what the show was about, never watched it and had no interest in watching it even after their appearance in it tonight.  One young lady candidly told me that she had absolutely no interest in musicals -she only participated in drama... this from a perspective actress.  It's hard for me to understand that some people just don't like musicals, they just don't get it -and some of these people are actually (no pun intended) in show business!   Don't they want to be happy?

ASIDE:  Now if I were "screenwirter-of-the-world" I would suggest the following fictional plot continuation:
It turns out that Marilyn had a daughter (circa 1960) and she lived a reclusive obscure life in the bowels of showbiz.  At 30 she has a daughter who is now just starting to break into theater. Derek secretly discovers her and creates a new show -the legacy of Bombshell: MM

It was interesting to see the young director, Michael Morris, call up each of the actors whenever their last scene was shot.  All of us clapping for their "season wrap" a la standing ovation (sans prompting).  It all appeared to be one big happy family.  This had to be one of my best extras gigs.

EPILOGUE:  The show aired on May 26, 2013.  They edited Derek's speech to be more benign. The booing and his retort during his acceptance speech were taken out.  Perhaps the powers that be wanted to make him look more "redeemed" as opposed to a "dragged into the muck" type of character. My stint in the crowd was captured by the "pause" button on my HD tv.  And, a few months later, I received an email from the same casting agency stating:

"Hi there,

You worked this past March in a scene on Smash in your formal attire and the Wardrobe Department was very impressed with your look.  We are shooting a similar scene on another feature film... and want to use you in a similar scene."

Hmmmm... "very impressed"... I love rave reviews!

Alpha House with Beta Tenants

John Goodman

It seems that Amazon.com has jumped into the competitive field of private-productions and going up against the likes of Hulu and Netflix.  Alpha House is one such "beta test" of the expanded revenue-generation prospects. By producing their own product (with the help of Doonesbury comic strip writer, Garry Trudeau)... in this case a video series entitled Alpha House, about four politicians living under the same roof... Amazon Studios can control the subject matter and distribution with greater freedom.  And in the process providing additional jobs for us background extras.

I was told to bring 3 suits for this stint -as were the rest of us senatorial atmospheres.  I have one black and one blue suit, but only the blue one sufficed for the casting director.  So I went out to the nearest department store and "bought" two new suits of various gray and tan shades (with the plan of returning them after the job was over).  Such are the quick thinking modus operendi of a resourceful extra. And during wardrobe checks, the wardrobe lady complemented me for providing just the right kind of suit choices.  Unfortunately, at the end of the day, the only one I had to use was my own blue suit!

Inside the Bar Association -there were portraits everywhere.

This happens so many times lately.  They tell you to bring a number of changes for various scenes and we usually wind up wearing the ones we show up in.  Sometimes I know how to out-think them (and go only in a single get-up) or I have to schlep my schmattas all over the place (trains, buses  city streets) for nothing. That's why I love to do period pieces.  They fit you at the studio, transport your wardrobe and it's ready for you on site... and you wear the same thing all the time.

Matt Malloy

But being on this "politico" set with John Goodman and Matt Malloy at the New York Bar Association was worth the schlepping.  It was a dinner scene where John's character is responding to insinuations that an adversary to his office was being groomed: a popular football coach, no less.  He finds the concept distasteful and walks out... past some of our tables... that I, for one, was dining with two other "senators" -which in all likelihood will not be in the shot.  We extras know this instinctively because none of the makeup people came over to us to "powder the shine" in any of the retakes -as is usually done when you are near the principal actors.  So we just kept up our "pantomime chat" for s&g!

The "large hall" of honor being set up

The other scene dealt with Matt Malloy in a large hall receiving an honorary award from "The Council For Normal Marriage" for being a senator who promotes "straight sex" relationships.  He accepts the award and comically goes off on a tangent berating other forms of unacceptable sexual relations -while we in his audience are directed to start looking at each other as if to say"What the heck is he talking about?". We did quite a few takes of that performance, with each being funnier than the next.  A short stocky young man with "squinty eyes" was playing a reporter nearby. They called him "Haley", and although I might have seen him on the TV screen before, I just couldn't place him. I was also unsuccessful in getting the name of the director... the PA's called him "Matt" but I never got the last name. More IMDB homework to do.

Before lunch was called, we saw the crew munch on some quesadillas here and there, and our mouth started to water.  Soon a cart was pushed to the side with plenty of the delicious cheesy treats left on them.  One by one, we nonchalantly partook of the much needed vittles.  A minute later, lunch was called... burp!  Suddenly I felt like a glutton!  But the hot lunch food was also delicious, the conversations flowed engagingly with my bg-friends at the holding-area tables, and our meanderings through some of the inner sanctum areas at the Bar Association building made the time go fast.  Surprisingly, it was a 9 to 5 day in New York City's Times Square.  It brought back some memories from my real-life working days in this neighborhood.

Unfinished at the Zero Hour

Another rush call... where you never know what you’re in for!  One day you're an orthodox hassid -the next day you're a mysterious monk.  That's showbiz.

The casting agency called me to be available for a 5:30 PM call at St. Josephat Monastery in Glen Cove on Long Island.  My instructions were to wear a black shirt, socks, shoes, pants, belt… simply black!  That was simple enough –extras are always prepared for black… it’s the blend-in-the-background de facto national color for us extras.

The location was quite remote but my trusty GPS got me in front of the gates.  Unfortunately the gates had unclear signs on it and I bypassed it the first time, winding up on a foggy beach parking lot a mile down the road.  But the beach parking lot was loaded with the huge Haddad trucks so I felt reassured.  When I asked where I should park, the workers there were ambiguous and didn’t know.  So I trekked back to the monastery gates and entered.  The path took me up a narrow winding road with no visible signs of civilization –until I got to the top.  There, I saw the bright studio lights and people!  I also saw a row of cars parked off the road and figured I’d pull in behind one of them.

BAD MOVE!  I was stuck in mud.

I felt my front wheel-drive wheels slipping and the car sliding.  Repeated maneuvers to get back on the paved road, just inches away were futile.  Two guys came along to try to direct me but their savvy was not up to the challenges of the muddy mush and I just got dangerously closer and closer to another vehicle.  At that point the two guys bailed.   Since my driver’s side door was too close to the adjacent vehicle, I had to clamber out of the car through the passenger side.  SLURP!  Stepping into the unavoidable mud I realized that part of my black shoes were now brown.  As I walked away from my precariously positioned car, I knew I’d have to call for help… eventually.

Walking up the stone path and into the monastery’s front yard, I asked where holding was from the workers.  No one knew!?  I had studied up on the location and was familiar with the exterior so I decided to go to where the most lights were (near the front door) and went in.  Again asking where the extras are being held again brought no result.  But this was the film crew… with 2-way radios in their ears… couldn’t they ask “someone”?!  No one knew where holding was??  Amazing chaos.

I went exploring around the busy-crewed house, noticing the neat architecture (circa 1910) and the iconic decorations (occupied by Basilian monks since the early 1940's) which I had studied from the website's information.  At the moment nothing was neat.  The icons, statues, candle holders, were shoved all over the place and there were cardboard mats and cable taped to the floors.  Complicated technology meets monastic simplicity.

Eventually I came upon a separate room with a fireplace where there were seats arranged with the sign “Solutions” on the back of them.  I wished they had the word “Extras” instead.  One silver-haired man was sitting in a wooden pew.  I asked him if this was holding.  He immediately acknowledged that it was and became very enthused to have company.  As we chatted, it turned out that we had worked together on  "The Men Who Built America" a few months ago. He told me that he lived in this neighborhood and had once worked with his father at this monastery as carpenters.  He explained that the monastery was almost closed up now.  Only two people were running it and very few monks were joining up.  He lamented that young people are not very religious anymore.  That they only turn to God when they have one foot in the grave.

The PA entered and we asked him if we could check in but he was vague about it and rushed out of the room.  Another extra had found our holding area and sat down.  More chatting ensued and after a long wait we decided to wander toward the absent PA’s area.  While there were vouchers there, it was only for union people.  We assumed the PA went out to get the non-union vouchers.  Soon another dozen extras entered –they were bussed in and had just arrived.  I started to wish that I’d taken the buss too… reflecting on my stuck-in-the-mud situation.  Two PA’s also arrived with more vouchers.  I filled mine out and informed the PA about needing help with my car.  He said he’d look into it.  I’ve heard that response before, it usually meant that it would be forgotten.  I started to worry more about my debilitated transportation at the end of the night.  Soon after the check in fiasco, we were led out into the courtyard for a short break under the tent where the snacks were set up –and it began to rain.  Great… more mud under my car.

Later, back in holding, two wardrobe women showed up with a batch of long red robes.  We were finally told that we would be “monks” of some mysterious order.  We put on the robes and immediately the photo-frenzy started.  Each of us were taking iPhone pictures of ourselves since it was great resume-type material.  An elderly man and a young “apprentice” priest entered our area and greeted us with handshakes.  They were the only real “monks” of the place.  But they were enthused, and later took photos of us in a group shot.

After we all calmed down into our seats, a short time passed by and the PA announced that we were all dismissed –the director had decided not to do our scene tonight… putting it off until the end of the week.  BUT… we would all get paid for the day!  Wow… here I was worried that we’d be here past midnight but with this “unexpected turn of events” we were checked out at 8:00 PM.  I was second on line and would have been on my way home were it not for my car’s predicament.  I asked the PA again if anyone was going to help me out but the same reply was mantracized:  “Hang tight.  I’ll look into it.”

OK… so no one was going to help anytime soon –and I’ll have to spend the night here with the real monks.  And then I remembered my seldom-used AAA card hiding in my wallet.  As I began to make my call, the PA kept Shhhh-shing us because we were too loud and the filming (somewhere in the monastery) was picking up all the sounds.  Later on, after we did our bathroom break, an “announcement” came from one of the directors below our floor:  “Stop flushing the fucking toilet!  The sound is being picked up every fucking time the fucking toilet is being fucking flushed!!!”

So I ventured around to another room, the kitchen, where I saw an elderly woman doing her chores while a small TV was blaring away.  I figured I’d be “safe” making noise here.  I called the AAA people who said they would be sending someone in 20 minutes.  I wanted to believe that, but knowing the difficulties in finding this place, I had my doubts.  So I began to chat with the “kitcheness”in anticipation of a long wait.

She had a striking resemblance to Charlotte Rae from the old Different Strokes TV series and a friendly demeanor.  She had overheard my plaints on the phone and was sympathetic to my predicament.  We also chatted about the history of this place. Mostly she was very excited about the TV scenes they’d done outside her kitchen window.  She described a scene earlier in the day where a lot of characters were shooting each other “by the gazebo”… and how a helicopter came down and women in white robes rushed to “escape in it”.  I listened intently and wished that my rush call would have been earlier so I could have witnessed these scenes also.  DAMN!

Twenty minutes later the AAA guys arrived!  It was still drizzling when the two Russians expertly figured out the precise pulls and pushes that had to be made in order to extract my slip-sliding car from the pitch-black night’s mire.  After 30 minutes my two front wheels were on the road and I was able to be on my way… but not before tipping them.  They were REALLY GOOD at their job and I made sure to mention it to their boss.

Of course the three-minute trip down the “mountain” was now rainy and foggy… not unlike in the “Rocky Horror Picture Show”.  And at one point I almost made the wrong turn –no Dr. Frankenfurter on this trip!  Finally the mist cleared and I saw the front gates (it gave new meaning to the thrill of “checking the gates”) and I was back on the civilized road to home again.  

I never got to be in a scene... I never got to see the set where they were actually filming... never got to see who the director was on this episode (last of the season) -much less any of the celebrities.  Oh well, such are the adventures of a paid extra when acting strange is not an option.

A Blue Blood Hassid in Brooklyn

Me and Lulu

A rush-call to be a hassid in episode 14 of the new season for Blue Bloods got me in front of the makeup mirror with Lulu at the Broadway Stages in Greenpoint, Brooklyn.  She was an expert makeup artist from Dublin, who as it turned out was also on the set of  "Man on a Ledge" doing similar work to plain folk like me.  As our banter continued she chatted with her colleague behind me -revealing that neither of them were comfortable being in front of the camera, even though they had plenty of opportunities.  Myself being a ham (no kosher pun intended), I'd always wondered about that aspect of showbiz... "Why wouldn't someone want to be a star? ...and all the other folderol that comes attached to that (fame, riches, a fake life...)".  But I understood and respected their comfort zone.  After all, they were happy to contribute to the industry with their art and were satisfied with that.  Nuff said.

Sneaking a look at the call-sheet, I found out that the episode was entitled "MEN IN BLACK" and due to air in 6 to 8 weeks, right in the middle of Oscar-award season.  The scene dealt with a gathering of hassids inside of a synagogue to mourn the murder of one of their community members.  Our direction was to shuckle (the ritual swaying during prayer) as the rabbi at the podium chanted the El Mole Rahamim (prayer for the dead).  Being Jewish, I knew the routine very well.  Quite frankly, I loved the whole scene -I was in my element... not to be outdone by the accompanying conflict of emotions that this was supposed to be a very sad moment (Jewish guilt).  As we were all lined up in a group on the perfectly built set of the synagogue, two principals were brought to the front: Richard Masur and Len Cariou.

Richard Masur and Len Cariou

In my hassidic makeup I became a bit braver than usual in attempting to converse with the principals.  Between takes, I was able to do a quick walking-chat with Richard Masur.  He shook hands with me as I told him I'd seen him in a play (The Oldsmobiles) where he was jumping off a bridge with his wife (played by Alice Playten).

The Oldsmobiles

The conversation had a somber turn when Richard quickly mentioned that she had died sometime after the play run had ended.   I attempted to say hello to Len Cariou but he was in a kind of "deer-in-the-headlights" mode and whizzed by with a quick "Hi!".  Probably trying not to get into another familiar "dinner-scene conversation" that most Blue Bloods fans try to initiate with him.  I was only going to mention my bodyguard scene with him in Damages.

In a following scene, the director, Alex Chappel, wanted hassids spread around the synagogue in schmoozing-bunches. I was paired up with another hassid where our direction was to react to a loud noise as one of the principals, Len Cariou, storms out of the synagogue. I think I might get a split-second of "hazy-background feature time" in this one -as my partner and I gesticulate about the sudden ruckus. 1 rehearsal and 2 takes later we were done.  In fact much of this scene was zooming along at break-neck speed from different angles -each time with a different set of hassids while the "used hassids" were sent back to holding.

Extra hassids (on line for props)

Holding was a hilarious sight.  An entire room full of fake-hassids doing "Oy-veys!" and "Don't mess with my payiss!", all of it punctuated by endless tales of Jewish jokes... all in good taste. I even met my old buddy Dale at this gig.

Dale

As I began to compliment his makeup, he quickly corrected me (and later the makeup people who wanted their hair back at the end of the shoot), that it was all his hair!!!  There were about 7 real hassidim hired for this shoot.  They were sequestered across the street in a separate area with kosher food.  At one point I was mixed into their group and chatted with them for a while.  One of the extras named Eliyahu, was an Israeli who promised to pray for me (we can all use some of that sentiment).

Eliyahu

At lunch time it was difficult to eat.  The beard was constantly in the way while we were repeatedly told to keep our beards and clothes clean. Fat chance!  I missed breakfast and now I was ravenous. In went the taco, the salmon, and the dreaded gravy-laden mashed potato...(Ha ha ha ha...evil laugh).  All this while the person next to me was telling me about how he had dropped a lot of weight in recent months by skipping soda beverages.  Yeah... Right... as I continued to chomp.  But he was a good-natured late-30-ish guy and told me all about how unhappy he was with his previous real-life job and how he now planned to be a stay-at-home-dad for his expecting wife's birth of twins.  This wife had a great job in the media and was covering news items for presidents Bush and now Obama -as well as covering medical benefits for her husband.  The man had it made in the shade!!!

Getting the voucher filled out and signed was another bit of challenge for me -I'd forgotten my glasses in the mad rush-call and was hard put to decipher some of the instructions in the form.  This got me sent back to "GO" and to check the posted samples stapled to the wall.  Unfortunately they were not the enlarged versions and it took me a while to write things in the correct boxes.  Only a few years in this business and I'm already getting old?  Weyz mir!

EPILOGUE: The show aired on February 8th and the only shot of this scene was FROM THE BACK!!!  Disappointing.  But then again, I didn't see Richard Masur in any other scenes either.  I don't get it... how can they hire a top-notch actor like Richard and not feature him in any way???  And I thought I had a low profile.

An entry into The Carrie Diaries

Anna Sophia Robb as the young Carrie Bradshaw

December was starting to look pretty bleak on my background calendar.  Perhaps Hurricane Sandy had put a damper on the filming industry for a while -stalling all previously scheduled work.  For me, there were no call-backs until mid-month when I got a notice to go for a fitting at Steiner Studios for the Carrie Diaries.  I’d been submitting to this on Central Casting for quite a while and FINALLY I got the gig.   I began doing my research on IMDB to see who the principals were.  Just wanted to make sure I’d recognize them in the event that they would actually be in my scene.  Of course, I was hoping to see the main character of young Carrie Bradshaw: Anna Sophia Robb.

Two days later I self-reported to a college in the Riverdale section of the Bronx in the afternoon.  It was an upscale neighborhood and parking was easy on the winter-scaped campus.  Holding was in the gym and I camped out at one of the sparse tables in the front near the PA’s station.  There were about 80 extras, most of whom were teenagers taking part in a high school dance (I wasn't slated for that scene).  They were cute but rather blasé about the whole thing -their 1985 period shoes seemed to offer only discomfort and torpor.  An hour or so later, my table began to have more life to it as five guys and a tall young woman found their places here.  Since we weren't going to be used until dark, our dragged-out conversations got livelier and livelier.

The tall young lady at our table discussed health foods and safety on the subway, then left for long periods of time. As expected, whenever you have a couple of guys left alone at a table, the conversation always turns to sex.  One of the 50-ish guys began commenting about how he generally has sex thrice a day!  That certainly made him the immediate center of frivolous commentary from the rest of us.  Another guy began to tell about all his encounters with big-name stars like Marlon Brando.  Since he didn’t look that old, we all began to side-glance at one another with questionable looks –but listened intently nonetheless at his anecdotes.  The third guy was a youngish actor who really preferred to work in theater on the stage rather than in this obscure background gig.  He liked being the life of the party and told me about how he’d been turned down for theater auditions even before he had a chance to show his stuff.  In his words, “At the Broadway level of acting… EVERYONE’s talented!”  But only the “insiders” really land the jobs.  Newbies only have a 1 in a million chance.  Still, he liked the business and so he persisted.  The guy on my left was a writer and was trying to break into getting a publisher (other than himself)… he found it very tough, but he continued to believed in himself.  And then there was “Broadway Bob”!

Broadway Bob, as he wanted to be called, was a short well-dressed elderly man with a snappy cigar in his jacket pocket who had just gotten into doing extras work recently.  Comedy and tragedy exuded from his lips for the better part of our afternoon.  He began by pointedly asking us if we could tell that he was wearing a taupe?!?  He had very neat hair –but now that he called our attention to it, we noted the flaky sides starting to curl up from his scalp.  We all played “dumb and dumber”.  Other stories dealt with him crossing paths with the mob and shyster lawyers who fleeced him during a divorce proceeding that included an inadvertent police arrest.  It was one personal story after another –all of which had an increasingly deeper emotional effect on him.   There was a point where his eyes welled up with tears and his voice began to strain –but it seemed that he just had to get it off his chest.  I soon realized that our little circle of men was really acting like a group therapy session for him.  He was genuinely giving us a rare moment of reality –absorbing our attention with his natural George-Burns-like character in the world of a Broadway Danny Rose.

 At some point after it got dark, we were called to the set.  It was a theater scene in which Carrie’s father, played by Matt Letscher, and her sister played by Stefania Owen had exited the theater after seeing the Nutcracker Suite and we extras were placed around them.  The call-sheet showed that Nanette Burstein was our director, but most of the shots were apparently being directed by a very exuberant woman with stringy white hair. She was stern but friendly.  I was paired with a short woman who was to exit the theater with me (as a couple) and we would mime to each other “What a great presentation we just saw!”  As we chatted between takes, it became clear that we were both unemployed from similar industries and doing these gigs was a kind of “escape”.  Her story was not much different from Broadway Bob’s angst-ridden plight into this world of fantasy that seemed much friendlier than any of our respective “realities”. 

A second shoot that was to take place outside had been cancelled due to the inclement weather and we were released early.  I was second on line to get my voucher signed by the PA when Broadway Bob sat down at this table, began to fill out his form and constantly kept  peppering the PA with questions about filling out the form (not unlike Peter Falk in the Columbo TV series).  It was another half hour before I (and a series of other frustrated extras) got our papers processed.  Nonetheless, you had to love Broadway Bob –he was a natural!

My longstanding astute observation that “the real show takes place backstage” was yet again validated.

Immigrants hanging out in a Winters Tale

Not Howard Stern

I met Ron on the set of Winters Tale and just had to take a picture with him because he looked soooo much like Howard Stern.  In fact, when we chatted he told me that he was actually on the Howard Stern show at one point -discussing a script (about a guy who looks like Howard Stern etc.)!  As soon as I had my picture with him, all the other surrounding extras immediately came over and asked to do the same.  Luckily Ron was good-natured and generous.  Unfortunately for him, the production asked if they could cut his hair -which he wasn't going to do... and so they didn't use him in the shoots.

Although there were a lot of big stars in this movie, none of them were present for this two-day shoot of the Ellis Island 1895 period scene filmed at the old Williamsburg Bank in good ole' Brooklyn, NY. But we 300 extras kept ourselves entertained during the breaks.  On one of our extended outdoor hangouts, one of the women was taught to juggle three boxes.  This was one of the best photos of the day:

Period pieces are fantastic because they really put you into the mood of that era.  And I have to say it wasn't that much of a stretch for me since I was born in Budapest and emigrated to the USA when the Hungarian Revolution of 1956 broke out.  But the real coincidence of this shoot was that I met two others who were also Hungarians... as well as a wardrobe person with whom I jovially exchanged Hungarian expletives as I was incorrectly hanging my drab and "distressed" costume back on the rack. The only Hungarian word he knew was "lo fasz" and so we kept calling each other by that moniker!

Some of my fellow immigrants on break

The wardrobe location was situated inside the bank's vault!  For some, this created a kind of claustrophobic apprehension because of the huge vault doors that were ominously suggesting a "what if they closed in on us" imagery.  This, of course, invited numerous gallows-humor conversations along the extended waiting lines during our wardrobe checks.

The set that was built inside the bank was majestic.  Numerous pipes and benches recreated the Ellis Island-type of scenery that was needed for the immigrant medical inspections. A number of us had been marked on the back with letters to indicate our various diseases (H for hepatitis, etc.).  In one scene, a woman is traumatically (screaming, crying, clutching) dragged through the set because she is being deported.  Colin Farrell plays one of the characters in this story and in this scene his parents are part of the deportation decision with a baby in the mother's arm. A real baby was used -and what do you know, the baby cried on cue!???

Although this was pretty much the first scenes of the movie, I expect it should be coming out sometime next year with great anticipation due to the phantasy subject matter and the plethora of stars involved (Russell Crowe, William Hurt, Will Smith, Jennifer Connelly, Eva Marie Saint... oh how I love name dropping)!