Dear Stand-In Central,

I am a regular stand-in on a television show. Since the start of our season, we have had several first time stand-ins that have been booked to stand in for dayplayers. The background PA routinely introduces them to me and tells them to stay by me (because I know when to be on and off set) and follow what I do. I don’t mind giving them the basics like how to stand on the mark, but lately I’ve been feeling more and more like a babysitter. Some of these stand-ins follow me so closely that they stand next to me on my mark, and others repeatedly disappear off set and cannot be found when it is time for them to stand in.

I have not been blamed for “losing” these stand-ins, but I feel conflicted about the level of responsibility I should have for them. I want to help out the crew and make sure the new stand-ins are doing their best, but I cannot be keeping and eye on them and chasing after them all day. It’s becoming very stressful.

Have you had experience with this and do you have any advice?

- Brandy

Hi Brandy!

Thanks for your email! What a tough situation. Your situation probably is not all that uncommon for stand-ins who work regularly on the same project and become familiar and friendly with the assistant directors and background P.A. I’ve provided a reply below. Also, your situation suggested a need that Stand-In Central can fill for stand-ins like yourself. Stay tuned to the homepage for a downloadable sheet like the one described by the end of the 2011.

- The Editor

Response from Ben Hauck

First of all, I feel your pain!  While technically it is not part of your responsibilities as a stand-in to parent or teach others, you may feel a particular need to help a few out here and there.  But when that becomes an obligation or a chore, one that especially interferes with your own job or downtime, that sounds like a real issue.

We had a similar issue come up on set recently.  Another regular stand-in was seated next to a day-playing stand-in pulled from background, who was next to a talkative background actor.  The regular stand-in was quiet but the other two were distracted.  The day-playing stand-in was talking and on his Blackberry; the talkative one was, well, talkative.  The typically soft-spoken DP went up to the two and said very directly, “Do you want to be a stand-in?  Then watch her (our regular stand-in).  And you (the background actor)–be quiet.”  And the DP left.

The regular stand-in felt bad, feeling somewhat responsible for those two, though they weren’t really her responsibility.

In my opinion, you know that this happens–that new stand-ins come in and sometimes they shadow you.  I might advise to prepare for this in order to help circumvent it.  An idea I had that another stand-in also liked was to create a sheet of paper with stand-in responsibilities on it.  Hand it to new stand-ins whenever production singles you out as the go-to person for advice.  That way, in giving them a sheet with responsibilities on it, you help them out, but then you also make it their responsibility to abide by what’s expected of them.  With their “knowing the rules” from the sheet, you potentially get around much further responsibility and also dump some of the responsibility onto them.  Plus, they get a good takeaway that they can use for future stand-in gigs.

A more general idea is to refer these people to the Stand-In Central website: http://standincentral.com.  That’s why it’s here, to be a helpful resource for the stand-in.  If it helps, simply say, “Go to standincentral dotcom and click on ‘What Is A Stand-In?‘”  There, I’ve created several general headings, including one that says “Responsibilities.”  If you’d like to create a sheet from it, you can pull from there (please cite Stand-In Central as the source if you quote directly from it–thanks!).  Just basically, the site is here to help stand-ins out … and it sounds like you’re a stand-in who needs some help!

All in all, I hope you use some of the above devices to get out of some of the added responsibilities your job wants you to care for.  Keep in mind that the other stand-ins aren’t your responsibility–they’re more the responsibility of the assistant director or production assistants (the background P.A., the key P.A., et al.).

I felt your pain when reading your email.  If you find some other balance, feel free to write back.

How do you manage stand-ins who follow you for guidance?  What information do you offer?  Are there limits to what you teach stand-ins?  If you care to share below, please do!

Have you had a question you’ve wanted to ask about standing in?  Want to know how other stand-ins might field an issue you’re having on set?  If so, drop us an email!  Select emails we turn into future Tips & Tricks Blog posts.

You can drop us an email via the “Ask Stand-In Central!” link at the top of the screen.  Alternatively, you can click here to go directly to that page.

How has asking Stand-In Central a question been for you?  Have you gotten fast answers?  Good advice?  If so, post below!

You’ll Appear in the Show

Parents or friends far removed from the business sometimes hold the belief that because you are working on a particular TV show or film, you’ll be “in” the TV show or film when it comes out.

Stand-ins work behind the scenes for a production, specifically in the setup of shots.  Technically speaking, stand-ins do not appear on camera.  A stand-in technically needs to be upgraded to a photo-double, principal actor, etc., to appear on camera.  Another way a stand-in may appear on camera is as a background actor, which is work sometimes asked of stand-ins.

Unless a stand-in is upgraded or works in the background, the closest the stand-in will be to “being seen” in a production is by way of being named in the credits.  Not all stand-ins are awarded production credits.  Therefore, waiting to see if credits are awarded to stand-ins is sometimes the “second climax” of a particular film or television project!

You’re Buddy-Buddy with the Actor

Sometimes people imagine that if you are standing in for a star actor, you are close or chummy with that actor.

In most instances, stand-ins are not very familiar with their first-team counterparts.  Other than the occasional polite exchange or professional conversation, most stand-ins rarely interact with the principal actors.  The actor-stand-in relationship is somewhat like a revolving door: When you’re on set, the principal actor is not; when the principal actor arrives, you step off.

This is not to say that there aren’t stand-ins who are familiar with the stars for whom they stand in.  This is just to say that being the actor’s “buddy” is not part of the job description for a stand-in.

The Work Is Easy

While some stand-in work doesn’t require much from the person, some stand-in work is very demanding.

For many stand-in jobs, the work demands discipline in being quiet, being attentive, and being detail-oriented.  Stand-ins frequently work long hours on top of long commutes, which makes the work even more taxing.  Working in loud, cramped areas and being continually asked to move adds more stress to the stand-in’s job.

While one day of stand-in work may be a breeze, a series of days on the same production (or even different productions) can spend the energy of even the most enthusiastic person.  A stand-in who regularly works 12-hour days does a 60-hour work week–not counting commutes.

Standing In Is Common Sense

Some people who find themselves standing in for the first time don’t know what the words “mark” or “blocking” mean.

Given that there are those types of people, standing in is not common sense.  Standing in takes education and experience.  While it helps to work background to learn the rhythms of production, you can’t learn standing in until you actually do standing in.

Furthermore, each production runs a bit differently.  Some productions will have a friendly camera crew who will kindly direct you to do what they need.  Other productions will have a grumpier camera crew whose courtesy is lacking in their interactions with you.  Add to this that some assistant directors will treat you with respect while others will nearly completely disregard your humanity.

When you are standing in, you have to learn how each production does things, meaning you have to adapt to each set.  To be an effective stand-in in these productions, you have to be smart, and smarts oftentimes are learned from prior stand-in experience.

What are some common misconceptions you’ve heard about standing in?  Or what misconceptions have you had?  We’d love you to share below!

We’d like to hear more about how Stand-In Central has helped you.

Do you refer people to Stand-In Central for advice?  Did a particular piece of advice help you land a stand-in gig?  Are you a casting director who refers stand-ins to the site to brush up on their job?  Are you a stand-in who wanted to learn more details about a gig?  Did an interview with a professional stand-in inform you about an aspect of the job you’d wanted to know about?

If you have anything to share about how Stand-In Central has helped you, please contact us via the Ask Stand-In Central link above, or by posting a comment below.

Thanks for following Stand-In Central!

Dear Stand-In Central,

Where can I find out where to get a Stand In job? And can you make good [money] doing this?

- Dean

Hi Dean!

We’ve been getting a lot of questions regarding finding stand-in work.  I thought I’d take your question and make an official answer from Stand-In Central so that those looking to stand in can figure out how to find stand-in work.  Thanks for your email!

- The Editor

Response from Ben Hauck

Where to find stand-in jobs depends on where you live.  It’s hard to tell anyone where to find stand-in jobs without knowing where they are asking from!

If you’re completely new to film and television, and you live in a city without a thriving film and television community, your opportunities to stand in may be slim to none.  Most stand-ins have experience on a TV or film set, and most stand-ins are union members of the Screen Actors Guild and/or the American Federation of Television and Radio Artists.  Most stand-in jobs are concentrated in cities like Los Angeles and New York City, which are film and television meccas in the United States.  If you want to work regularly as a stand-in, I would encourage you first to make sure you live in the vicinity of a city with an active film and/or television community, get involved in doing background work in film and television to develop on-set experience, and join SAG and/or AFTRA.  (Currently almost anyone can join AFTRA, but SAG is more difficult.)

How stand-ins are cast in, say, New York City is usually through background casting offices.  Most of these casting offices today use a website called Casting Networks to post casting calls looking for stand-ins; this website can send out emails relatively immediately to stand-ins signed up with the website, who in turn can submit themselves when they see the casting calls.  These stand-in jobs typically require the stand-ins to be particular heights and hair colors.  Casting calls for stand-ins are actually relatively rare; there are many more casting calls for background actors than stand-ins sent over Casting Networks.  Sometimes stand-ins are cast without a casting call ever sent out, with background casting directors simply calling reliable stand-ins they know to fill positions they have open.  This is to say you might not be privy to a lot of stand-in opportunities until you get your foot in the door with background casting.

How stand-ins are cast in other cities really depends.  Some cities may have background casting offices, background agencies, call-in services, management companies, etc., that actors use to book background work in television and film, and presumably to book stand-in work as well.  Some cities may actually solicit talent agents for stand-ins.  Knowing crew members in the local industry (like assistant directors or directors of photography) may lead to jobs as a stand-in.  Of course, any number of other methods may lead a person to becoming a stand-in.  Ask working actors in your city how they have booked background work or even stand-in work, and their answers may lead you to paths for finding local stand-in work.  Local actors would probably be a better resource than Stand-In Central for finding local stand-in work.

Since most stand-in jobs are union, and since these stand-ins command union wages, a stand-in can make a decent living if the work is consistent.  Gross payment for a day’s work can be anywhere from about $150-$300 depending on work hours and the contract.  I would estimate that many regular stand-ins work on average 12 hours a day, though that really depends on the project.  While this happens infrequently and irregularly, some stand-ins can rake in over $1,000 a day if their work exceeds 16 hours in one day, which is when “Golden Time” kicks in.  Golden Time is a special union wage equal to an 8-hour-day’s wage per hour for every hour over 16 hours.

I should emphasize that Stand-In Central is not a resource for stand-in jobs.  Rather, it is a resource for finding out how to do the job and to do it well.  Stand-In Central can’t hook you up with stand-in jobs, but if you do land stand-in work and you want to learn fast how to do it, Stand-In Central should really help you out.  First visit What Is A Stand-In? for an overview of the job, plus the daily routine and some key terminology.  Then, read over the numerous entries in the Tips & Tricks Blog, which answers a ton of questions you might have when you stand in, also providing fantastic tips from professional stand-ins for doing the job well.  Searching Stand-In Central may also turn up answers you can’t find–to search Stand-In Central, click on the button above between the red banner and the blue panel to slide down the Search panel.

Lastly, I should note that standing in may sound like a “romantic” job.  While it may be exciting at times, it really isn’t that “romantic.”  For great stand-ins, the work requires a lot of attention to detail as well as intimate knowledge of the rhythms of shooting.  For most stand-ins, it is much, much more than looking like an actor and “just standing there.”  Surely, some jobs may be like that, but most jobs are not that easy.  You might be surprised how difficult it can be to just stand there with all the conversations and lights moving around you!

So pursue stand-in work wisely.  If you woke up this morning and decided it would be fun to stand in for an actor, keep in mind that the hours are long, the weather conditions can be grueling, the personalities can be difficult to appease, and your first-team counterpart may never acknowledge your work.  But if you’ve been thinking about the job for a while, I’d say go for it.  And come back to Stand-In Central the day before your first stand-in gig to learn all you can about the job!

How are stand-in jobs filled in your area?  Do you have any pointers for landing stand-in gigs outside L.A. or NYC?  If so, post your pointers below!

Dear Stand-In Central,

I recently had a great stand-in gig for an A-lister and want to turn the one-time commercial gig into a regular job. I was cast through the commercial casting director and am unsure who on the star’s team I should keep in touch with to express my interest. What’s your advice, Stand-In Central?

- Kat

Hi Kat!

Thanks a lot for your question.  It’s a common question for people who resemble a particular star and want to turn that look into a career.  It is also a common question for stand-ins like yourself who enjoyed working as the stand-in for a particular star and want to keep doing it.

Of course, there is no easy answer to your question, so I passed along your question to contributor Sara DeRosa, who stands in currently on the television series Gossip Girl.  She provides a pretty thorough response to your question.  Also, I’ve provided my thoughts; I currently stand-in on the television series Nurse Jackie.

- The Editor

Response from Sara DeRosa:

Sara DeRosa

Hi Kat! Thanks for writing in to Stand-In Central. Your question is interesting because it is about a topic I’ve discussed frequently with other stand-ins.

Firstly, I have not come across a lot of stand-ins who are an actor’s permanent stand-in. They may have stood in for them on an entire movie or TV series which can be long-term, but they do not follow them from project to project working as their exclusive stand-in. It does happen, but it’s not common.

For example, I see casting notices for stand-ins when a new project is about to begin shooting here in NYC. Often times they will list the name of the A-list actor and ask that you note in your submission if you have stood in for her before. This leads me to believe that these actors do not have permanent stand-ins, or at least not ones that can travel to work bicoastally or in other cities. To do this, you would most likely have to pay your own way and find your own housing, and you may not be profiting from the work.

I will also say that I don’t think a lot of actors care who their stand-ins are. I have had limited contact with the actors for whom I’ve stood in. I’ve stood in for many actors who are very appreciative and say “thank you” often, but stand-ins are not a part of their work experience that is going to make or break their performance and the final result of their project. They may be more focused on securing a great team of acting coaches, hair and makeup stylists, wardrobe stylists, et al.

Also, it is usually the DP who ultimately chooses a stand-in for a project. Every DP is different and looks for different characteristics in the stand-in. One may choose someone with a better match of the actor’s hair color or hairstyle over someone with a better skin tone match. I know of stand-ins who have stood in long-term for actors on single projects, but are not chosen to stand in for them on different projects because of the different DPs’ preferences.

However, I will say that I know stand-ins who have been requested by actors to come stand in for them on other projects. But in most of these cases, the stand-ins have stood in for these actors long-term, and have developed professional relationships with them.

The other part of this discussion among stand-ins is controversial: “How do you go about trying to get stand-in work?” “What are the ethical limits to what you should do to get stand-in work?” The reason that this topic is controversial is because as in any business, everyone has different opinions about how far you should go to get what you want. Some stand-ins are very aggressive in going about securing stand-in work–calling a casting director repeatedly, lying about their stand-in experience, contacting people on the crew who may have a part in the decision making, etc.   These stand-ins may choose to cross lines that others would not consider crossing. You need to think about what you are comfortable doing, and the possible outcomes of the decisions you make.

My advice to you would be to cautiously use the information that you have. The commercial casting director for your project will probably not be of much help to you because it was a short-term project and the CD’s company is probably not used repeatedly to find stand-ins for the actor you stood in for. However, you wondered who on the actor’s team you can keep in touch with. I’m not sure who’s information you have, but I would say that it would be fine to send an e-mail to the actor’s manager and assistant if you met them and spoke with them and they gave you their information. Thank them for the work and express interest about standing in for the actor in the future. I would suggest that you only do this once, and only again if you hear that the actor is going to be filming another project in your area. And of course submit to casting notices for stand-in roles for this actor noting that you have stood in for them before.

You have already profited from this stand-in gig. You gained more stand-in experience and have an A-list actor’s name to add to list of people for whom you have stood in. These things will help you get more work in the future, whether it is for the same actor or for other actors!

Good luck Kat, and thanks again for writing in to SIC!

Response from Ben Hauck:

Ben Hauck

Kat, I am equally baffled by the achievement of securing a coveted spot as an actor’s particular stand-in.

One such actor I know who is requested by the star has stood in for the actor for many, many years in television.  Other stand-ins I know have stood in for their particular actor on prior sets, but booking the latest gig was not the result of being requested by the actor, but instead more than likely the result of being a good match or having prior experience standing in for the actor.

I have heard stories of stars contracting in particular stand-ins.  If these stories are true, I’ve only heard them for very big-name actors.  Plenty of big-name actors don’t have contracted stand-ins.

That’s a more negative take on the idea of becoming a star’s regular stand-in.  A more positive take is one that answers your question, “Whom do I contact to become that star’s regular stand-in?”

My feeling is that luck is the major factor that leads stars’ regular stand-ins to their precious positions.  It is probably a circuitous, somewhat random path that led most of these stand-ins to their places, rather than a linear sequence of easy-to-follow steps.

But strategy may improve your luck, and similar to what Sara says, I would recommend that you introduce yourself to, say, the star’s assistant or the star’s manager if the opportunity presents itself, so that they know who you are, your interest, and your contact information.  You may find you have better luck if you are on friendlier terms with these people before making your interest known, which means you may want to take some time before expressing your interest.  Then again, if you’re on a commercial set for one day, passing on a business card with your photo, contact information, and a note expressing interest in future opportunities to stand in for the star may just as well do the trick.  If you miss the opportunity to pass along your information, do some research to find their business addresses and drop them a photo postcard with similar information, and follow up possibly once or twice a year.  Facebook may or may not be an effective or appropriate method of contact; consider the method wisely before making a connection.

Lastly, if you’re not that experienced in standing in or working on a set, I would discourage you from pursuing work as a star’s regular stand-in until you are well versed in the experience of being on a set.  Similarity in appearance will only take a stand-in so far, and what really counts in the end is the ability to perform well as a stand-in: to be available to the crew when they need you; to be a good observer and listener of rehearsals and takes; to be a professional especially when it counts on set.

Do you have your own guidance on becoming a star’s exclusive stand-in?  Feedback on this advice?  If so, post a comment below!

If you have great tips on topics of importance to the stand-in, a fantastic stand-in story, or ideas for columns in the Stand-In Central Tips & Tricks Blog, email the editor at Stand-In Central and we just may invite you to contribute!

For example, here are some ideas for topics that might interest us:

Standing in on productions with live studio audiences

Standing in on productions with three or more cameras

Standing in on soap operas

Getting a film or television credit for standing in

Becoming a star’s dedicated stand-in

Receiving the daily callsheet from production

Landing principal work by working as a stand-in

Landing stand-in jobs in markets other than New York City

Answers  from SAG and AFTRA to common stand-in questions

Working exclusively as a stand-in

Exciting stories from standing in

Interviews with unique and interesting stand-ins

When something goes terribly wrong on set to the stand-in

Eating healthfully and keeping fit when on set

Tips for writing out blocking during marking rehearsals

Etc.!

We aim to keep Stand-In Central informative and entertaining.  Stand-In Central is a non-authoritative website dedicated to providing helpful resources for the television and film stand-in.  If you’d like to contribute toward this goal, please email the editor!

If you have great tips on topics of importance to the stand-in, a fantastic stand-in story, or ideas for columns in the Stand-In Central Tips & Tricks Blog, email the editor at Stand-In Central and we just may invite you to contribute!

For example, here are some ideas for topics that might interest us:

Standing in on productions with live studio audiences

Standing in on productions with three or more cameras

Getting a film or television credit for standing in

Becoming a star’s dedicated stand-in

Receiving the daily callsheet from production

Landing principal work by working as a stand-in

Landing stand-in jobs in markets other than New York City

Answers  from SAG and AFTRA to common stand-in questions

Working exclusively as a stand-in

Exciting stories from standing in

Interviews with unique and interesting stand-ins

When something goes terribly wrong on set to the stand-in

Eating healthfully and keeping fit when on set

Tips for writing out blocking during marking rehearsals

Etc.!

We aim to keep Stand-In Central informative and entertaining.  Stand-In Central is a non-authoritative website dedicated to providing helpful resources for the television and film stand-in.  If you’d like to contribute toward this goal, please email the editor!

Dear Stand-In Central,

I had my first interview today to be a Stand-In for the lead female actress in a feature film. Three ladies showed up. One was eliminated right off the bat because of her body structure. The two of us who remained each had something the other did not. The other lady had more of the body shape of the lead actress, while I was closest to her complexion.

I must not have been too far off on the body shape though, as they did not mention this like they did for the third lady that they dismissed.  The lead actress is very fair skinned, very similar to me. The second lady whose body shape was closer to the actress has a pretty dark tan.

So I guess my question is, when you don’t have a Stand-In that meets all of the qualifications perfectly, which trait is on top? Body shape or complexion?

Thanks for your time!

- Cassandra

Hi Cassandra!

That’s a great question, and there’s definitely no solid answer for it.  Like many things in the film and television industry, winning jobs is usually up to human choice, which is not necessarily something you can deduce logically.  In fact, human choice is a bit irrational, if not wholy unpredictable!

However, there may be some general tendencies to help you predict who gets the job in terms of complexion vs. body shape.  I passed along your email to contributor Sara DeRosa, who stands in currently on the television series Gossip Girl.  I’ve also provided my thoughts; I’ve been doing stand-in work recently on The Big C.

- The Editor

Response from Sara DeRosa:

Sara DeRosa

I would definitely say complexion before body structure. I have been on one stand-in interview where body type was a consideration, but otherwise I have not really encountered this. I would say that complexion is more important for lighting purposes, and differing body structures are easier to work around (given that the stand-in is the same height as the actress).

However, I have been on stand-in interviews where the production is looking to hire a stand-in who can also photo-double for the actress. Therefore, the stand-in would have to closely meet the measurements and sizes of the actress in order to be able to fit into the same clothing the actress will be wearing. But complexion would still be very important when considering a person for photo-doubling.

Response from Ben Hauck:

Ben Hauck

In most cases, ultimately whose decision it is what person works (and continues working) as the stand-in for an actor is the director of photography, also known as the DP.  There are other crew people who decide whether a stand-in keeps a job (e.g., the assistant directors), but the DP is a person the crew wants to keep satisfied by providing “tools” like well-matched stand-ins for doing his or her work effectively.

Some DPs really care about a very close match between actor and stand-in because the closer the match, the easier it is to accurately light and set up a shot with the stand-in, without having to make adjustments when the first-team actor steps in.  Other DPs don’t really seem to care who stands in, as long as there is a body to light and around whom to set up a shot.

Given the importance of lighting, I would think DPs would end up being pickier about complexion over body shape.  However, body shape in terms of facial shape tends to have importance given that different faces cast different shadows.  Someone with a facial shape that matches the actor but not necessarily the complexion or body shape may end up getting the gig.

Another important quality is height, which probably ranks around the same as complexion if not more.  Body shape may be more important of a factor when it comes to extremes: If you’re slender to stand in for an obese actor, or vice versa, there is probably less chance of continuing the gig.

But on the whole, in agreement with Sara above, it seems to me that complexion > body shape would generally be the selection principle.

Dear Stand-In Central,

I have a question. I stand in regularly on a TV show. Occasionally I trade contact info with people who stand in a day here or there. Sometimes these people text me with questions about the schedule for the next day. The thing is, I don’t always feel comfortable  about giving out this information. Do you have any advice about giving out this info to others? Thanks.

- A Flustered Stand-In

Hi Flustered,

That can be a tricky situation to be in!  Here are a couple perspectives from Stand-In Central on your question.  Thanks for the email, and I hope the responses help you figure out how to field requests for preliminary information in the future.

- The Editor

Response from Sara DeRosa:

Sara DeRosa

As working actors, we are always trying to balance work, auditions, and life in general. Situations may arise where you are asked to stand in on a project for the next day, but you have an audition or another important obligation. Asking a stand-in on the project for information about the advanced schedule can be extremely helpful. You can find out what part of the day you are expected to be called in, and if you will be needed all day or not. Also, you may want to find out where the filming location is that day.

However, schedules on sets are always changing. Even when filming has already begun for the day, the scene order could be switched, or you may be asked to stay to stand in for another actor. Also, the preliminary information that you get for the next day could change before the final callsheet is released at wrap time that day.

When asked for advanced schedule information, I would advise you only to give it out to people  you know well and you can trust with the information. Locations and advanced storylines are private information. Some sets are so protective about this information that they only give sides and advanced schedules to a select few crew members, or you are asked to sign out these documents and are required to return them at wrap time.   If you don’t feel comfortable giving out this information for any reason, simply don’t do it.

Response from Ben Hauck:

Ben Hauck

Giving out preliminary information is no simple matter.  If someone asking you for preliminary information thinks giving it out is “no big deal,” he is mistaken: It can be a very big deal.  There are several factors to consider before giving out preliminary information.

First off, who is asking you for the information is probably the biggest factor for determining whether to give out preliminary information.  If the person is a trusted source who can keep the information confidential, who will appreciate that the information may change, and who will not hold you responsible for decisions that person makes should you make a mistake in relaying the information, you may find in that person someone who knows how to take preliminary information.

However, not all people are like this.  If you don’t know a person well, then you don’t know whether he’ll keep the information private, whether he’ll understand that the schedule could completely flipflop, or whether he’ll be upset with you if you make a mistake in relaying information.  If the person turns out to be one of these problems for you, it could cause you undue stress, stress you could have spared had you not given out the information.

Also, relaying preliminary information to another person can consume both time and attention.  Texting the minute details of the prelim and fielding the numerous questions the other person may have can disrupt your work.  If you have numerous people asking you, the consumption of your time and attention is multiplied.  Remember, it is not your job to give out preliminary information.  If a person wants preliminary information, typically she must refer questions to the casting director.  This is not standard operating procedure, but professionally speaking it is probably the optimal path to take.

Giving out preliminary information may also interfere with the job of the casting director.  Say that you are close with several stand-ins who are not working on a day you are.  Say also that you text them that they won’t be needed tomorrow.  Based on that information, say they go book other work.  Say, then, that the advanced schedule changes and forces the need for the stand-ins who booked other work.  While the casting director may have had them available because the stand-ins were in the dark about the schedule, with your information the casting director now may need to scramble to book new stand-ins.  If it gets back that you had given out this information, you might look bad.  Then again, you might not, but it seems to me that giving out preliminary information to others, though it may benefit them, may circumvent casting.

Considering the above, if you are familiar and friendly with the person requesting information, it is probably safe to give out preliminary information (if it is not confidential information).  Do it when you have the time and avoid making it a priority when you are busy on set.

And if you don’t feel comfortable giving out preliminary information?  Then you can always field a request for information by saying three simple words: “I don’t know.”  Technically, you don’t know: You don’t know what will turn out the next day.  Plans can be so much in fluctuation on a set that making a prediction is next to impossible.  Saying “I don’t know” can be a safe, proper, and professional response to a request for preliminary information, especially when you feel uncomfortable giving it out.

One last note: Protect yourself.  Some people will request preliminary information from you but not provide it to you when you request it.  Other people will regularly request preliminary information, rather than requesting it occasionally.  Again, is it not your job to give out preliminary information.  You may always ignore a request for preliminary information if providing the information has become a nuisance to you.

Do you have advice on how to field requests for preliminary information?  Any stories from experience on the effects of giving out preliminary information?  If so, post them below!