- Jun 20, 2014
- 5,316
- 9,297
- Country
- United States
- Faith
- Christian
- Marital Status
- In Relationship
The most crucial force behind virtually every production that has enough steam to make its way to a theater or onto TV, whether it be a quirky independent or the newest installment of a blockbuster franchise, is not a producer or director, or the talent; it's not SAG-AFTRA (union), an agency or a studio executive. All of those are of significant importance, of course, but the engine that must be properly installed and operational for a production to move forward is the insurance policy. The leading cause for why once-leading actors struggle to become cast is that they cannot be insured (attending rehab is often as much about satisfying a demand from an insurance company as it is to seek actual rehabilitation). Repeated violations of the clauses of an insurance policy is one of the fastest ways to have a production shut down and be barred from being issued a permit to film.
The few barriers to becoming a background actor (an "extra") for a union production pertain to liability, though they are designed to help protect these workers as much as they are to protect the production from risks those workers may pose. Through the hiring process the person provides documentation establishing their identity and authorization to work, consents to a basic background check, and signs a liability waiver. There are additional provisions in place to help protect children from harm and exploitation, namely a state-issued entertainment work permit for minors. It's simple to get that permit, though. There are two private schools in Studio City that are popular with kid actors and industry parents, and many of the students have the permits so they can take advantage of opportunities that sprout up, such as if a production is needing teens for a scene that is set at a high school and comes to campus to sign them up. Working as background actors is not what gives them any influence, though, it's the pre-established connections. They are in contrast to the adults who are working not for a lark but to work, and are dependent on that income. They have microscopic influence since by nature of the very job title for background acting work, they are to be in the background.
Think of the jeopardy posed by failing to have due diligence on who is permitted onto a set, especially one that has many children or is very high budget. A few seconds of filming can be elaborately expensive. Without vetting and oversight someone seeking to maliciously wreak havoc or troll can simply enter as a background actor and then scream or do something else to ruin the shot. Hiring background actors is also a means of making them compliant with rules. It's why the audience of Judge Judy is made up of paid extras who've been given detailed instructions on how to dress, how to conduct themselves so they appear attentive and do not cause a distraction. Typically background extras are forbidden from initiating contact with the talent or above-the-line crew, mainly because of the adage of how time is money and these people need to be focused on their specified tasks. Most will act professionally even if not treated with a reciprocal courtesy. The carrot that many background workers chase after are vouchers that if they accumulate can make them eligible for SAG-AFTRA, a union with higher pay.
Due to being paid laborers background actors are entitled to reasonable breaks for meals and the restroom, though it can be grueling, monotonous and oftentimes demoralizing work. It's not uncommon for them to have to show up at hideous call times - three in the morning to do things like run up the same hill repeatedly until the director is satisfied with the take. If they are injured while on set they can receive workers compensation since they are paid workers.
Allowing extras to work for free on a production sizable enough to have any form of influence would be folly. It would be unethical, and exploit those who are already vulnerable to exploitation.
People are at "liberty" to work for free on some nonunion productions, though.
Auditions, casting calls, and jobs for union and non-union actors page 1 | Backstage
Rarely, if ever, will such productions have enough of a presence to have any form of influence on entertainment culture. These are typically student films or ultra low-budget productions that the actors are in to build up a portfolio for themselves. The only nonunion production I can think of at the moment that got picked up by a major distributor and taken notice of in a substantial way is The Blair Witch Project which was made forever ago and an anomaly.
The few barriers to becoming a background actor (an "extra") for a union production pertain to liability, though they are designed to help protect these workers as much as they are to protect the production from risks those workers may pose. Through the hiring process the person provides documentation establishing their identity and authorization to work, consents to a basic background check, and signs a liability waiver. There are additional provisions in place to help protect children from harm and exploitation, namely a state-issued entertainment work permit for minors. It's simple to get that permit, though. There are two private schools in Studio City that are popular with kid actors and industry parents, and many of the students have the permits so they can take advantage of opportunities that sprout up, such as if a production is needing teens for a scene that is set at a high school and comes to campus to sign them up. Working as background actors is not what gives them any influence, though, it's the pre-established connections. They are in contrast to the adults who are working not for a lark but to work, and are dependent on that income. They have microscopic influence since by nature of the very job title for background acting work, they are to be in the background.
Think of the jeopardy posed by failing to have due diligence on who is permitted onto a set, especially one that has many children or is very high budget. A few seconds of filming can be elaborately expensive. Without vetting and oversight someone seeking to maliciously wreak havoc or troll can simply enter as a background actor and then scream or do something else to ruin the shot. Hiring background actors is also a means of making them compliant with rules. It's why the audience of Judge Judy is made up of paid extras who've been given detailed instructions on how to dress, how to conduct themselves so they appear attentive and do not cause a distraction. Typically background extras are forbidden from initiating contact with the talent or above-the-line crew, mainly because of the adage of how time is money and these people need to be focused on their specified tasks. Most will act professionally even if not treated with a reciprocal courtesy. The carrot that many background workers chase after are vouchers that if they accumulate can make them eligible for SAG-AFTRA, a union with higher pay.
Due to being paid laborers background actors are entitled to reasonable breaks for meals and the restroom, though it can be grueling, monotonous and oftentimes demoralizing work. It's not uncommon for them to have to show up at hideous call times - three in the morning to do things like run up the same hill repeatedly until the director is satisfied with the take. If they are injured while on set they can receive workers compensation since they are paid workers.
Allowing extras to work for free on a production sizable enough to have any form of influence would be folly. It would be unethical, and exploit those who are already vulnerable to exploitation.
People are at "liberty" to work for free on some nonunion productions, though.
Auditions, casting calls, and jobs for union and non-union actors page 1 | Backstage
Rarely, if ever, will such productions have enough of a presence to have any form of influence on entertainment culture. These are typically student films or ultra low-budget productions that the actors are in to build up a portfolio for themselves. The only nonunion production I can think of at the moment that got picked up by a major distributor and taken notice of in a substantial way is The Blair Witch Project which was made forever ago and an anomaly.
Upvote
0
