• What Exactly Is An Extra?
• A Day In The Life Of An Extra
• Technical Information For All Extras
• How To Become A Working Extra

An EXTRA is anyone who fills out the background scene of a movie, television show or commercial shot. It could be a concert crowd, the non-specific apes in Planet of the Apes, or people on the street passing by the main actors or action. As an EXTRA, it is your job to make the scenes being filmed, look natural and as lifelike as possible. Extras are sometimes called Background, Atmosphere or Non-Principal performers.

You could also be a specific character like a doctor or lawyer, or a face in the crowd at a baseball game, rock concert, or rally. It is your job to be present and service the “picture”, without getting in the way of the “stars”. That is the general rule, unless you are “Directed” to do something special by the Director of the film. This usually means you would be given some dialogue. If given dialogue, you will make more money and be allowed to join the Screen Actor Guild, (S.A.G.) the largest actors Union . We’ll talk about that later on.

Some extras make “extra work” a profession, and work steadily, going from project to project. This is a way to have an exciting, flexible career in the entertainment industry. Some people do “extra work” because it’s an interesting way to earn cash while going to school or pursuing other interests. Some people become EXTRAS, to earn the right to join SAG. For most EXTRA work is another way to pay the bills, while you are taking classes and learning to be a good actor, singer or dancer. It is definitely possible that EXTRA work can lead to other work as an actor.

As a working EXTRA you will be exposed to a whole new and exciting world. It is also a great place to start if you have other showbiz ambitions, and no experience. You can get an overview of the entire industry and see if a career here is for you. As an extra you are on a “live” set and can check out all the different specialty jobs it takes to make a film, everything from camera operators to electricians, wardrobe, makeup, location scouting, producing, on and on. 

As an extra, you can more closely explore these possibilities.  Being on the set also gives you an chance to make valuable connections with people already working in the film or tv industry. These experiences can help you find the best fit, and allow you to be an integral part of the entertainment industry.

As an EXTRA every day will come with a totally different schedule and routine. Flexibility is key. Today you may have a “call time” of 6 am ; the time that you are required to be “On Set” for filming. To make your call time, you will have to wake up between 4:00 am and 4:30 am in order to be ready. If you are late, you could be sent home without pay and not be allowed to work again for this company. Promptness is ABSOLUTELY essential in getting consistent work as an EXTRA. Once you arrive on set, you will report to the 2^nd AD (second assistant director), and get your payment voucher. The 2^nd AD works under, and answers to the 1^st AD. The 1^st ADs job is to help the Director in every way, and hardly ever leaves his side.   The 2^nd AD is in charge of the EXTRAS and everything that involves them. Practically all of your instructions, interactions and paperwork will come through the 2^nd AD or his Production Assistants. They are known as the P.As.

The payment voucher you will receive is a time card that has your name on it. This is what you need to guarantee you will get paid for your work. The voucher will be filled out by you, but won’t be signed by the A.D. until the end of the day.

This helps insure you are in the right place at the right time, always exactly where you’re supposed to be.  

Once you have your voucher, you will report to the wardrobe department. Here your wardrobe will be looked at and hopefully approved. This is usually an outfit or two that you were required to bring. On occasion, you might receive a costume from the Production Company to wear for the shoot. In between paper work and wardrobe and sometimes hair/make-up you can often expect to enjoy a free breakfast provided by craft services (catering).

Hopefully, about an hour after the call time, filming is set to begin. The EXTRAS are called to the set and instructed on what to do for the current scene. These things can range from sitting or standing in a specific location, to walking behind or near the stars. If you are lucky you may get to interact with the stars of the film. Every EXTRA has a purpose and while some are more “seen” than others, all are important. Your instructions will almost always come from the 2^nd AD. It is rare for the Director or 1^st AD to instruct the EXTRAS personally. Although it does happen, don’t expect to interact with them very much. Once all the directions have been give out to cast and crew, there will be a couple of practice run throughs of the scene. This is called Rehearsal, whether it is for the actors, extras or cameras.

Throughout this process, the Director checks that the actors have the right emotional intent, know their lines, and have their correct movements down, called Blocking. The Director of Photography, (called the DP), makes sure the lighting is right for the scene, and the cameras are set correctly. The Gaffer (electrician) makes sure that all the electrical gadgets are working, while the hair and make-up people attend to the “look” of the stars. The wardrobe and prop people are extremely busy, making sure the Actors and EXTRAS are perfect and have everything the scene requires.

When the Director is satisfied, the cameras will start rolling and actual filming will begin. One scene can take as long as three to four hours to complete, depending on how many angles the director wants to film from, and how all the aspects come together. Some film directors may take days with only one scene in order to get exactly what they want. It is a very long process, and as an EXTRA, patience is a must. This is because everything is repeated over and over again, until the Director decides it’s time to move on.

Not every EXTRA on the set will be used in all the scenes. Those not being used in the current scene must hang out in the “Holding Area.” This is the area away from the set, where the EXTRAS can read, play cards or try to line up work for the next day. It is your free time to do what ever you want until being needed in a scene. It is certainly a great time to “Network” with the other Extras. Get friendly with other folks who do what you do, find out who hires them, and how they go about getting consistent work. This is a wonderful opportunity to build a support system with other Extras. Other extras are also a great source to provide insider information on where to get the best deals on photos, coaches, and what other projects are coming up in town. Film and TV jobs usually last for a short amount of time. Everyone on the present Production will move on to other jobs when the project is completed.  It is important to build friendships with as many of these people as you can.

We cannot stress enough that Networking is an important thing to master in the entertainment industry.  However, when you first start out you probably won’t know very many people in the industry, don’t worry. Build relationships with as many working industry people as you go along.  Learn people’s names, exchange phone numbers and keep in contact.  Talk to everyone and everybody.  You never really know just who knows whom, and what will lead where.

If you are in “Holding” always be prepared to keep occupied, because boredom can lead to trouble. It is also important to understand that you are there to do a job, even if that means hanging out for hours and hours and hours.  

On the set, remember you are not there to talk to stars, get their autographs or take pictures with them. In some cases EXTRAS are asked not to approach or talk to the stars on the set. Stars are people too, and please understand that they are under a lot of stress trying to memorize lines and get their scenes just right. Don’t take it personally if they ignore you. They too are there to do a job, so just be honored that you get to work along with them, and are part of this exciting process.

Lunch is usually called within six hours of the Call time, because of Union rules. Lunch will last for about an hour and is typically provided by the Production Company. Sometimes you will be asked to provide your own lunch or told to go off lot and buy your own lunch on smaller projects. After lunch, if you are still needed on set, you may spend the rest of the day doing the same thing as before. This will last until the director calls a “Wrap” (end of filming), or you are no longer needed in the scene.

There are no normal days in Show Biz, so your day could last anywhere from 2 to 12 hours. The longer days with overtime, brings more money and free meals, whereas the shorter days mean good money for less work. In either case, when your day is done you will return any wardrobe and prop items that were borrowed. Then it is time to have the 2^nd AD sign you out.  He or she will verify that all the information on the voucher is correct and then you sign your Time out. Once signed, you will be given a copy and are free to go home and prepare for the next day. Hopefully, there are more days in the nightclub or courtroom and you will be back for more work on the film.

Training:

THE GREAT THING is that there is no special training or experience required for you to become an EXTRA. What you need is the right “look” and wardrobe for the current projects available. Also, the more skills you have, the more projects you may qualify for. For example, if you are trained in “ Ballroom Dancing ” then you will qualify to be an EXTRA in a project that has a “Formal Dancing” scene. Sports, martial arts, and military training are a few great things to have on your resume, and will increase your work potential. Even if you don’t get hired for these skills, once on set you might be asked about different abilities. Sometimes directors make last minute changes, and if you have the skill that will make their ideas come to life, all the better. Just remember, always be honest about your skills, and do not say you can do something that you cannot.  That is a huge waste of everyone’s valuable time and money.

Telephone/Answering Machine/Pager/Cell:

When they want you they need a phone number on your picture and resume. When they call you, they want to be able to leave a message, and hear back from you within one hour. That is professional and that is what are expected. You must be reachable. A pager is good on set because you can still feel it on Vibrating mode if you’re working and you get a call during filming. Public phone booths are harder to come by these days, so we recommend a cell phone as well.

Headshot:

In the beginning you may not need a head shot to get some work.  If the person needed is someone that is going to be in a Star Wars outfit or in a crowd scene you will probably be able to get work with out the expense of having pictures taken.  Also be aware that there are a lot of cons out there.  Check with someone in the industry for a good recommendation. 

If you are really serious though about acting, you will need a photo that looks just like you do, on a great day. These 8 by 10 calling cards are called Headshots. Postcard size photos with your phone number on it are also very popular in addition, as reminders to Casting Directors.

You are the product you are selling, and the only way for people to know you is through your picture. It’s best to go to a professional photographer for an actor’s headshot, usually taken in Black and White film. Color is sometimes seen around town, but definitely not necessary and quite costly. You will then take the photo you like the best and duplicate it at a quantity reproduction house. Now that you have the required headshot it’s time to make a resume for yourself. This will be attached to the back of your 8 by 10.

Resume:

This will include your name, all current contact numbers, hair color, eye color, height, weight, age range (no more then 8 years, like Age range 22-30 years old), and any acting experience you may have.  If you are chunky that’s fine, just be truthful. There is work for overweight folks too. Be honest. Education and any acting training are important to list, although not necessary. Special skills like skiing, football, tap dancing etc, are to be listed here as well.  Staple securely your resume to the back of your 8 by 10. You can also get your resume printed directly on the back of your headshot.

Wardrobe:

The most important thing to have as an EXTRA is an extensive wardrobe. The more outfits you own or can borrow, the more projects you will eligible for. As an EXTRA you will almost always be required to bring your own wardrobe. This saves the production companies lots of money and helps the casting directors decide which EXTRAS they will hire. The best things for you to own are a tux or formal gown, three to four types of business suits, and several styles of casual wear. It is smart to have both typical and unusual colors. It’s great if you to have several outfits from different time periods like the 60’s, 70’s and 80’s. Hospital clothes, like a nurse or doctor uniform is good as well. Alternative or unusual outfits are useful on those off the wall projects that come up from time to time. The more extensive and varied your wardrobe, the more you will work you will be ready for.

Equipment:

It is not necessary to have any type of equipment to be an EXTRA. But like the wardrobe, the more things you have the more you will work. It is a good idea to have a usable bike, roller-blades, and other sports equipment you know how to use. These can help you get work on projects that have major outdoor scenes in parks, beaches or schools. Another way to increase your job potential is to have a unique or odd colored car. Sometimes production companies don’t want you as the EXTRA; they just want your car. If you’re lucky they’ll use both and you will make even more money.

Pay-Rates: For Film :

There are two types of EXTRAS in the industry, Union EXTRAS and Non-Union EXTRAS. Both have their own pay-rates based on the same work (see the next section for more information on unions). Just starting out you will be a Non-Union EXTRA. Union EXTRAS are members of the Screen Actors Guild (SAG). Pay-rates are based on several factors. These include a base rate for the first eight hours of work, overtime pay for work between eight and twelve hours, double time pay for anything over 12 hours of work, meal penalties, bonuses called “Bumps” for wardrobe changes, working around smoke, and mileage driven to special locations.  The following is a more detailed description of each:

        Base Rates-Overtime-Double Time

The base rate is the amount of money that an EXTRA will make for any work done during the first eight hours of being on set. It is also the figure that is used to determine overtime and double time rates. The base rate for Non-Union EXTRAS is $54.00 and the rate for Union Extras is $110. To get overtime and double time rates, you will divide the base rate by 8. This number is then times by 1.5 to get the hourly rate of pay for overtime hours and by 2 to get the hourly rate of pay for double time hours.  Therefore the rates for Non-union EXTRAS are $10.13 per hour for overtime (hours 9, 10, 11, 12 worked) and $13.50 per hour for double time (all hours after 12^th hour worked). Rates for Union EXTRAS are $20.63 for overtime and $27.50 for double time.

        Meal Penalties

Meal penalties are bonus payments added to your check when Extras are not given their mandatory meal breaks in accordance of state and Union laws. They rule is extras must be given a meal break every six hours or the production company has to pay you bonus money for every 30 minutes they make you wait. The rates per meal penalty for Non-Union EXTRAS vary by production, and have no set rate.  They are usually around $2.50 each. The rates for Union EXTRAS are $7.50 for the 1^st, $10 for the 2^nd and $12.50 for all others.

Bumps:

Every time you change your wardrobe in the same day, OR are required to work around fire or smoke,

OR are made to drive to a special location, you will be paid extra money called bumps.  The rates are as follows:

As a Non-Union EXTRA you will not always be eligible for “Bumps.” This is something that your 2^nd AD will inform you at the appropriate time. If in the Union , the bumps will be added to your base pay. This will make your overtime and double time pay higher. Also lunch and dinner breaks are always non-paid. Therefore these times will be deducted from the total time you are on set in order to determine when overtime and double time hours begin.

For the most money, the two best days to do Extra work will be the really long days, OR the quick short ones. On the long days you have more chances to earn overtime pay and “Bumps” making you check bigger. On the really short days you will get paid the full base rate for only 1 or 2 hours of work. Then you are free to play the rest of your day, having made a full days pay!

Unions:

The main Union for EXTRAS is the Screen Actors Guild (SAG). This is the Union that almost every working actor in America belongs to. As you have seen, being in the Union means that you will make more money than Non-Union EXTRAS. But getting in is the tricky part - there are only two ways currently to do it. The first is to get a Taft-Hartly opportunity. It is when you are cast in a speaking role in any Union project, and are not currently SAG. If the Production Company casts a non-union person into a speaking role, automatically they are allowed to join SAG. This can happen to you as an EXTRA as well. Say you show up to the set to work as a Non-Union EXTRA and the director sees you and thinks you would be perfect to say a line to make the scene better. In order to do this you must be in the SAG. Since you are not, they will Taft-Hartly you. This will cost the Production Company a union fine, so it doesn’t happen everyday, but it does happen.

The second way to become a member is to earn three union vouchers, while working as a non-union EXTRA.  Every union project requires a certain number of union EXTRAS be present on the set. For TV shows this is 15 and for movies it is 45. When not enough union EXTRAS are on a set, for whatever reason, the Production Company must now pay a non-union EXTRA; the union pay for each one not present. Each time you get paid as a union EXTRA you will receive a union voucher. If you earn three of these vouchers, you are eligible to join the union. To become a member of SAG at this time you must pay the initiation dues of $1,310.00 plus dues. You can learn more about the Screen Actors Guild by going directly to their web site at http://www.sag.org/

Register with your local Extra Casting companies. Call them up; find out their hiring policies and when they see new people. Almost every major U.S. city has at least one casting agency that handles movies being filmed nearby. Contact your local Film Commission office (AFCI) or Entertainment Bureau for the names of Production Companies in your area.

Here in our booklet, we will go into greater detail for the Los Angeles, New York and San Francisco areas.

SAN FRANCISCO

Bay Area Agencies:

Actors Exchange 3145 Geary Blvd., Ste. #752, San Francisco 94118 (415) 379-9308
craigajones@earthlink.net


BOOM! 2325 Third St., Ste. 223, San Francisco 94107 (415) 626-6591
www.boomagency.com


MARLA DELL TALENT
2124 Union Street,
San Francisco 94123 (415) 563-9213
www.marladell.com

GENERATIONS
340 Brannan, #302,
San Francisco 94107 (415) 777-9099

LOOK TALENT AGENCY
166 Geary, #1406,
San Francisco 94108 (415) 781-2841

JE TALENT, LLC
323 Geary St., Suite 302
San Francisco, CA 94102
Ph. 415.395.9475 x222 Fax 415.395.9301 http://www.jetalent.com

TONRY TALENT
885 Bryant, #201
San Francisco 94103 (415) 543-3797

STARS
23 Grant Avenue, 4th Floor
San Francisco, CA 94108 (415) 421-6272
www.starsagency.com

SHOW OFF TALENT, Inc.
5050 El Camino Real Suite 104
Los Altos, CA 94022
www.showofftalent.com
Office 650.903.1710
FAX 650.903.9797
Toll Free 800.506.1977
Email info@sotalent.com

--------------------------------------------------------------------------------

Bay Area Casting Directors

Mary T. & Associates Casting PO Box 20800 Oakland CA 94620 (415) 397-2278

Background Casting
1515 Vallejo St.
San Francisco, CA 94109
(415) 567-5272 Hotline: (415) 263-6877
Handles principals; Background handles extras.

Bedinger Casting 2269 Chestnut St., Box #363, San Francisco 94123 (415) 459-7744

Beau Bonneau Casting 84 First Street, San Francisco 94105 Phone (415) 346-Cast http://www.beaubonneaucasting.com

Casting.com 833 Market Street, Ste. 809, San Francisco 94103 (415) 495-0915
www.casting.com

Cooper McIntire Casting (CMC)
Sara Cooper -casting director
7824 Martingale Lane
Angels Camp, Ca 95222
PH 209 785 9600
F 815 361 5911

Declaration Casting Carissa Carpenter, C.S.A. 4804 Granite Dr. #F3-105
Rocklin, CA 95677 Hotline: (916) 557-9440 Principal & extra work

EyeCast (formerly Casting Works) 2215R Market St., Box 287, San Francisco 94114 (415) 922-6218 Hotline: (415) 979-8302 www.eyecastsf.com
Casts principals and extras.
Film Commissions -great source of info and casting

Oakland Film Commission http://www.filmoakland.com
(510) 238-4734

Sacramento Film Commission
(916) 264-7777

SF Film Commission (415) 554-4004

San Francisco Film & Video Arts Commission
(415) 554-6244

San Jose Film Commission
(408) 295-9600

Laura Folger Casting 450 Taraval Street, Ste. #300, San Francisco 94116Hotline (415) 664-3072 principals and extras.

Nancy Hayes Casting 1515 Vallejo Street, San Francisco 94109 (415) 567-2278
www.hayescasting.com

Nina Henninger Casting 250 Columbus Ave., Ste. 203, San Francisco 94133 (415) 837-0847

Montgomery Talent Casting 5424 Sunol Blvd., #10, PMB 223, Pleasanton, CA 94566 (925) 417-7480

Quen Casting Services PMB 230, 1911 Douglas Blvd., Suite 85 Roseville, CA 95661-3811 (916) 782-5033

Martha Sherratt Casting P.O. Box 151177, San Rafael, CA 94915 (415) 457-5575

Integrity Casting - California 1807-F Pruneridge Avenue Santa Clara, CA 95050 408/243-9466
Integrity Casting - Nevada 1030-B Matley Lane Reno, NN 89502 775/322-1515
General fax: 509/696-8861
Email: toni@IntegrityCasting.com
General Web: www.IntegrityCasting.com

International Talent Casting P.O. Box 330104 S.F., CA 94133 (415) 781-2278

Media Casting - 4120 Douglas Blvd. #306-387 Granite Bay, California 95746 Permanent Number (916) 652-3312 TALENT HOTLINE: (916) 556-0926
For the latest updates, including current casting for celebrity look-alikes and magicians, go to http://www.media-casting.com.

--------------------------------------------------------------------------------

Extra Extra Casting: NO hotline, mail headshots to:
Extra! Extra! Casting Associates
1777 E. Hamilton Avenue,
Suite 103, San Jose, CA 95125(831) 425-3198
(408) 445-8516

Forcier Casting
8698 Elk Grove Blvd Ste 3 #141
Elk Grove CA 95624 916.769.4233
sallyforcier@rcip.com
http://www.forciercasting.com

--------------------------------------------------------------------------------

BOOKSTORES

Footlight
(510) 526-5065

Limelight Books
(415) 864-2265

NEW YORK Casting Directors