Dear Stand-In Central,

Casting postings say “stand-in experience.” I write back that I’ve been background and know my way around a set, but I don’t get picked. How does one gain experience if I can’t get any??

- Steve

Response from Ben Hauck

While patience is a virtue, you might be able to up your odds of getting booked as a stand-in by doing a number of things.

First off, if you are doing background, when you check in on set, tell the background PA that you’re interested in standing in if something is available. Make sure to be friendly to the background PA.  Nothing may come of your friendliness or stand-in interest, but that eagerness to stand in may make a difference in being remembered when a stand-in like you is needed. A job may go to you if you match an actor, plus if there aren’t a number of standout candidates. You’ll stand out more with your expressed interest in standing in.

When you are working background–and more especially if you finally get to stand in–without being annoying, make sure to meet and know the names of the ADs. In particular, know the name of the 2nd 2nd AD.  Do this if the opportunity is there, but if it looks unwelcome or inappropriate, hold off. If you meet the ADs and they get to know you, and trust you, you may find you’re pulled to stand in or even requested, else you may find that your knowing them encourages them to pick you in a future interview should you find yourself on one.

When you are submitting yourself for background roles, make your interest in standing in apparent in the Notes section, even if standing in is not mentioned in the posting. You might find that casting then assigns you to be “pulled” to stand in based on your interest. Putting your interest in the Notes section even when submitting for non-stand-in gigs may improve your chances of getting stand-in gigs in the future. The more you do this, the more casting may start to notice your interest.

It just takes one stand-in gig to say that you have stand-in experience.  When you finally have a little stand-in experience under your belt, start putting in the Notes “stand-in exp” or something to that effect.  With time, you’ll find that you have more opportunities coming to you to stand in.  Your reputation plays a significant role in your being repeatedly called.  Many casting directors use the same stand-ins time and again because they are reliable.  You may end up on casting director shortlists if you repeatedly demonstrate a solid, dependable reputation.

Lastly, stand on top of the responsibilities of a stand-in by reading Stand-In Central, especially the “What Is A Stand-In?” section as well as the Tips & Tricks Blog, which is updated every Wednesday at 10pm Eastern.  Being knowledgeable will help you feel comfortable when you finally get to stand in.

Do you have any tips for gaining experience as a stand-in, especially when you don’t have much?  How did you get stand-in experience?  If you have suggestions, please share them below!

According to Christina, from time to time she is asked to stand in for men.  Of course, men sometimes have facial hair, and for the sake of lighting, she’s needed to meet the demands of such a stand-in job.

“I don’t have a beard, and have never grown one, so sometimes I have to resort to desperate measures,” says Christina.

Her first time standing in for a man with a mustache was a circuitous nightmare.  “I was going back and forth between the makeup trailer and the props truck trying to find facial hair.  Production didn’t want to pay for spirit gum, which is a bump,” explains Christina, “so I put black marker on the outside of my index finger in the shape of a mustache and held my finger up to my lip when they were lighting me.”

But it wasn’t until her third time standing in for a man–a man with a long fu manchu–that Christina figured out her calling.  The term “utility hair” was coined by Christina when production found her hair an asset in production.  “Christina’s hair has a unique character.  It’s beautiful and flowing, with rich color.  But it’s also masculine and heroic, which can transform to deliver whenever the demands of production need it.  I would work with no other head of hair,” said DP Alan Smithee, who has worked with her on several productions since.

Here is a photo of Christina George’s “utility hair” in action.

Christina George with "Utility Hair"

Do you have interesting ways you’ve used your hair as a stand-in?  If so, share below!

Trying to pull off one is tough enough.  Trying to pull off both in the same time frame?  Brutal.  The word “impossible” also sounds about right.

In 2011, I worked as a stand-in on two films and one television show while training for two November marathons–the NYC Marathon and the Philadelphia Marathon.

I ran NYC in 3:13:49.  Two weeks later, I ran Philly in 3:07:47.

Here’s how I did it.

Backstory

Back in 2010, I ran both the NYC and Philly Marathons in the same month.  I didn’t do all that well, mostly because I didn’t train enough and I spent my time doing other things than training when I should have.  In 2011, I had a little more time for myself, so I wanted to see if I could do both of these marathons again–but run them a lot better.

I set my goals fairly ambitiously for 2011.  I set my NYC goal at sub-3:10.  I set my Philly goal at sub-3:00.  Both of these times would qualify me for the Boston Marathon, which is one of the coveted goals many marathon runners have.

Given those goals, I figured out a few things:

• I’d have to train
• fairly regularly
• I’d have to keep my mileage high
• yet also rest

Training would commence in the first week of July.  Pre-training would have to be before then.

But then I went and got cast as a stand-in for a lead actor in the film Gods Behaving Badly. That gig started up in mid-July but was going to get serious in August and September–prime times for training.

What was I going to do?  How on Earth could I achieve my ambitious marathon goals and stand in regularly on a film?

What I Figured Out

When I train, I roughly follow training schedules on the New York Road Runners website, adapted from The Runners Handbook and The Competitive Runner’s Handbook.  I’d graduated over the years to using the Advanced Marathoner B schedule, the most difficult schedule.  But over the years I’d learned something about those schedules:

• I don’t have to train 6-7 days a week, as the schedules recommend
• I learned I personally can get by on 5 good training days and 2 days of rest and still exceed my goals

I figured out that I wouldn’t be training 6-7 days a week if I couldn’t.  I could get by on 5.  This meant running 3 weekdays plus Saturday and Sunday.  Ideally this meant also running Tuesday-Thursday, giving me rest from a high-mileage weekend (Monday) and rest before a high-mileage weekend (Friday).

This time out, I wanted to up my per-run mileage.  In 2009 (when I ran my fastest marathon), my typical run was 8.3 miles.  This year, I was curious if I could manage 10 miles as my typical run.

But that meant I had to have time.  If I wanted to run 8.3 miles, I’d have a 25-minute subway commute to Central Park, an hour of running, and a 25-minute subway commute back home.  Essentially, if I wanted to run 8.3 miles, I’d have to have 2 hours blocked out of my day.

However, if I wanted to run 10 miles, I needed about 1 hour, 10 minutes to complete that run.  That meant I needed more like 2 hours, 10 minutes for running, but probably more realistically something around 2 hours, 15 minutes.

How Standing In Figured In

The thing was, it was a real struggle to find even 2 hours of time to train when standing in on a film.

When I was figuring out what I’d have to do to achieve my goals while also standing in, I assumed that I’d be able to pull it off if I had 12-hour days on set.  If I had 12-hour days, that meant that the other 12 hours were for training and sleeping.  I also had to figure in showering and commuting.  If I needed 1 hour for showering and 2 hours for commuting/getting to set early, that left me with 9 hours for sleeping.

That seemed decent.  However, I had to fit training in there, too.

So if it took me 2 hours, 15 minutes to get out to Central Park via subway for a 10-miler, I’d be left with 6 hours, 45 minutes of sleep.  That is, I’d start cutting into my basic sleep needs of 8 hours.  Manageable?  Yes.  I could live on 6 hours, 45 minutes of sleep and probably get a proper amount of rest for my body-in-training, but it would be a bit tiring and tricky.

Wait, What Time??

When would I actually run, though?

If I had a 7am calltime, this meant I’d probably have to leave my home at 6am to get to set early, get sides, get breakfast, and so on.  This meant that I’d have to be in the shower around 5am.  And this meant that I’d have to be up around 3am to get in a 10-miler!

Getting up at 3am to run is ghastly for even the most committed runner.  So I started to try to think of ways to shave off time in my day.  The truth was, there was only one way to shave off that time.  I had to shave off the subway commute.

Truth be told, even if I left my home at 3am for the subway, the subway could be there else it could be there 20 minutes later given that service is much less frequent in the early morning hours.  That kind of time lag would be extremely detrimental to my goals (and to my sleep).  One 20-minute delay could mean the difference between running 7 and 10 miles.  (That is, it takes me about 20 minutes to run 3 miles.)  Or, it could mean I have to get to the subway as early as 2:40am.  Add to that: I’d still need to get up and put on my running clothes!

Making the Bridge

There is a bridge now called the Ed Koch Bridge, formerly called the Queensboro Bridge, that separates me from Manhattan and Central Park.  It is over a mile long, and it has a pretty grueling steepness to it.  There is also a running path.  I’ve biked over it many a time.  But now I realized I had to run it.

If I could run the Queensboro Bridge in the morning into Manhattan and Central Park and back rather than take the subway, that would save me about 1 hour in subway time.  Furthermore, I’d basically start my training runs right out my door!  It was a great idea.  The trouble was whether I’d actually like it.  Fortunately, I did.

Recalculating, my hypothetical 7am calltime meant I had to leave at 6am, which meant I had to shower at 5am, which meant I’d have to leave around 4am to get in a 10-miler.  This might sound mad, but it actually seemed doable.

When you realize in my hypothetical 12-hour day I’d be back at my apartment around 8pm, getting to bed immediately after, I’d get nearly 8 hours of sleep!  While obscene, this schedule was realistic.

But reality was somewhat more brutal than forecasted.

Reality Strikes

I didn’t work 12-hour days.  My first day on set ended up being a 16-hour day for the crew.

There was really nothing I could do trainingwise about 16-hour days–they were days not worth training on.  Fortunately I didn’t have many like that.  But I did find that I had a number of days that were over 12 hours.  This meant cutting into my sleep, which was hard for me to rationalize while also running.

You see, years ago I developed a stress fracture while running.  I was training aggressively at the time, but also getting not a ton of sleep.  I didn’t fall or anything, just suddenly developed the stress fracture, leading me to believe my lack of rest contributed significantly to my condition.  I reasoned I needed more rest if I was going to increase my mileage.  So I made rest a priority.

It was tough for me to figure whether I’d run in the morning or get the extra bit of sleep when those days were going over 12 hours.  However, I wasn’t too fretted.  It turned out that I averaged about 4 days a week on this film, leaving me with a catchup day for rest, running, or whatever.

In the End

All in all, I managed the schedule.  It ended up that one, maybe two or so days I got up before 4am for my run.  But I did get a number of runs in starting in the 4am hour.  I even got in one 16-mile run before my 9am calltime, a run that I started before 5am!  We were shooting in Central Park that day, and I got to wave hi to the catering guys as I ran by them in darkness.  Fun!

After Gods Behaving Badly, I moved over to stand in on a production that shot literally 2 minutes away from my home.  A 2-minute commute meant I didn’t have to get up as early to get in as much training.  I still got up early, but I was able to have a bit more sanity in my life.

That gig didn’t last too long before I was pulled over to stand in on another film.  Then, too, I had to fit in training.  For that film, I was supposed to follow the actor to stand in for him on his next film starting days later.  That film fell through (only eventually to pick up days before the Philly Marathon).  I think I patched together a few days here and there standing in before the last few days of training and the arrival of the NYC Marathon.

I didn’t meet my goals exactly, but I performed most satisfactorily.  In fact, for my Philly Marathon, I was only 15 seconds shy of my PR (“personal record”).  To think that I accomplished that despite running a tough NYC Marathon 2 weeks prior adds significance to my Philly accomplishment.

Secrets to My Success

I was able to keep fairly consistent with my training.  I didn’t average 70-mile weeks as the schedule suggested, but instead averaged about 50-mile weeks (more or less).  Most of my runs, though, were actually over 10 miles.

What helped me, though, was having consistent stand-in gigs.  I was able to synch my life with specific productions’ lives.  If instead I were bouncing around from production to production, standing in four days a week, I probably would have been ruined and exhausted, scrambling for sleep much less running.  The somewhat stable schedule was a boon for my training.

Also what helped was knowing what time it takes for me to run particular distances in different kinds of climate.  I used a Garmin watch, which keeps track of my miles and mileage.  It helped inform me of my progress.

I’m happy with what I accomplished, but I didn’t have much of a life.  My life was almost purely work-sleep-train.  Before I started this period, I told people I knew that I wouldn’t be doing much more than work-sleep-train in the next few months.  I had to say “no” to even small things, knowing that small things take up time that I didn’t really have.

But despite that all, I was really happy with what resulted.

3:13:49 and 3:07:47, baby.

Others have stood in while training for a marathon.  Have you?  If so, share below!

With winter upon us (albeit a rather warm one so far this year), we thought it would be good to rerun Sara DeRosa’s “Winter Wear” article.  Sara’s added some information to the article about Uniqlo’s HEATTECH clothing.  Consider picking some up!

- The Editor

It’s that time of year again! The weather is getting colder, windier, and soon it will be snowier. But the show must go on! Here are tips about what to wear to keep warm when standing in outside during the colder months.

Jackets

One of the most important pieces of clothing that will help you keep warm and toasty is a good jacket. I recommend buying a full-length, down-filled jacket. The long length keeps more heat trapped against the length of your body. Most come with a bidirectional zipper so you can unzip the jacket from the bottom, giving you options for more ventilation and for more legroom when walking.

These jackets can be more on the expensive side, but they are a smart investment. You can find cheaper, quality options at discount stores such as Burlington Coat Factory. You should choose a neutral color, and it’s best to buy one with a hood and roomy pockets.

Tops

For tops underneath your jacket, you should layer different types and thicknesses of shirts. Layers are great because you can always take layers off or add more as needed. Different options for tops that are good for layering include long-sleeved t-shirts, cardigans (for a light sweater option), and heavier sweaters or sweatshirts.

It helps to have a tank top, t-shirt, or long-underwear top that you can tuck into your bottoms for your first layer to keep you as insulated as possible. Longer length shirts that cover your middle and longer sleeved tops that cover your wrists will also help with keeping in your body heat.

Bottoms and Socks

You’ll also want to layer up on the bottom as much as you can. Start with leggings or long underwear that is tighter so it will fit under a pair of your jeans or other pants. You can always remove this layer if you get too hot.

Sara’s Tip!
Sometimes it is difficult to fit a full pair of leggings underneath a pair of jeans that are tighter around the waist. To still get full leg coverage, a great alternative is American Apparel Thigh-High Socks.

For socks, layer starting with the thinnest pair, and add 2 or 3 more pairs, ending with very thick socks. This may seem like a lot of socks, but your feet and toes are one of the hardest parts of your body to keep warm. In order to keep your body heat trapped, make sure some of your layers are long socks that will cover areas your pants don’t cover.

Toe warmers–as well as hand warmers and back (or “full-body”) warmers–are often available on set in coldweather situations, but they are also often a commodity.  If warmers are a requirement for you to stay warm, buy a box before the winter weather season begins.  Because local stores may be out of stock when it really counts, order warmers online to ensure you have a personal stock when production has none to offer.  DrugStore.com offers a selection of warmers in bulk quantities at affordable prices.

But make sure you don’t put warmers directly on skin!  Affix them to the first layers of clothing where you’re using them.

Footwear

As mentioned above, feet and toes are one of the hardest places to keep warm. Boots are the most ideal type of footwear for standing in outside.

Look for a snow-boot type pair with good insulation and thick lining. Ones with a short heel can be beneficial because with your foot at a slight angle inside the boot, the blood is encouraged to flow downward to keep your feet warm.

Accessories

Other components that will help keep you warm include scarves and gloves. You can layer more than one pair of gloves, if necessary. Covering your ears with hats and headbands are a must as well, but a hood may be your best defense against the cold, especially if it is windy outside.

If the hood on your jacket is somewhat loose, wear a sweatshirt with a tighter hood underneath your jacket, or keep your hat on under your hood for double protection.

HEATTECH

Uniqlo is a Japanese clothing company that has created a signature line of HEATTECH “heat-generated” clothing.  The Uniqlo website describes HEATTECH as “[f]abric with cutting-edge technology works with your body heat to warm you up and keep you warm.”

I am a big fan of this technology. IT WORKS! And it is inexpensive. As of now, they only offer their clothing for sale in the USA via their stores in New York City.

• Men’s HEATTECH
• Women’s HEATTECH

Color Cover

If color cover is given to you while standing in outside, find a way to wear it in addition to your outerwear. Wear the color cover over your jacket, even if it has to be draped around your shoulders. Figure out a way to make it work without sacrificing any of your layers.

Other Tips for Keeping Warm

Keep moving! Walk around the set area when you have short breaks from standing in. Pop inside a warming tent if there is one available there. If you have a longer break when you are not needed for a scene, head back to holding and ask the PA there to give you a warning when your next scene is coming up.

Warm liquids will help keep you warm. If you’ve already had too much coffee, tea, or hot chocolate, drinking warm water works, too.

And most importantly, layers layers layers! Bring extra layers with you to set–shirts, sweaters, and socks.  You will be prepared for changes in the weather.

Good luck, and have a wonderful winter!

What do you wear to keep warm while standing in outside in the winter months? Do you have tips for keeping warm while on set? Comment below!

Let’s face it: Sometimes the job of the stand-in on a TV and film set can get a bit monotonous.  You might get so good at your job that you find it lacks any real challenge.  What to do?

Well, how about a challenge?!

We’ve invented a new series at Stand-In Central called Stand-In Challenges.  Stand-In Challenges are games you can test yourself in as you work as a stand-in, in order to help develop your skills and become an even better stand-in.

If you like them or have an interesting experience trying them out, please let us know about your adventures by chiming in in the Comments section of the challenge.  Below is our first Stand-In Challenge: The Zero Speech Challenge!

- The Editor

Stand-In Challenge #1: The Zero Speech Challenge!

So many times on set, I’ve heard stand-ins told to do something, and then they follow with a reply.

Camera Operator: Jane, take a step to your right.

[Stand-In Jane steps to her right.]

Stand-In Jane: Is this okay?

The thing is, oftentimes for the stand-in, actions speak louder than words.  Was Stand-In Jane’s asking “Is this okay?” necessary?

The Ramifications of Unnecessary Speech on Set

Asking the question “Is this okay?” tends to obligate a reply from the camera operator, who potentially is very involved in setting up the shot.  In a sense, asking “Is this okay?” after taking a step is not simply a matter of being helpful to the camera department but more a sign of neediness the stand-in has for approval.  Your getting approval is probably unnecessary for setting up the shot.  More than likely, if you need to step more or less, the camera operator will follow up with additional instruction.

Of course, asking on occasion is not that big of a deal.  But asking regularly is a more obvious deal.  Compare the stand-in who steps without a follow-up question with the stand-in who steps then adds a follow-up question.  The result is that for the stand-in who asks the follow-up question, more time is used up in working with that stand-in than used up when working with the stand-in who simply responds to instruction with action.  When minutes or even seconds are precious in a day (such as when a crew is losing daylight or when the hours are getting very long on set), simple things like not needing to ask if a step was okay can mean real dollars to a production.

More Obvious Unnecessary Speech on Set

When you’re standing in with other stand-ins in a scene, the temptation often is to converse.  For some stand-ins who have been on a job for a while, they may have found a way to talk quietly such that their conversation does not disrupt setting up shots and leaves them open to receive instruction.

However, even a little bit of conversation can leave a stand-in distracted such that the stand-in can’t easily receive instruction from a camera operator or DP.  Being asked to move but not hearing the instruction, then saying “What?” and having the instruction repeated, eats up a few seconds of production time.  This is to say that a stand-in who is talking may not hear instruction the first time that a non-talking stand-in might hear more immediately.

The stand-in who is not talking is not necessarily paying attention, but the stand-in who is talking probably is focused on different matters than those related to setting up the shot.  All in all, talking on set can slow down productivity, especially when it happens over and over again.

Now on to the challenge!

The Rules of the Zero Speech Challenge

For Stand-In Challenge #1, start your day of standing in with the resolve to speak as little as possible when you’re in place.  Aim to respond to a camera operator’s instructions without speaking.  Instead, just move as instructed.  For example, if a DP asks you to take an eyeline just left of camera, instead of asking “Where exactly?,” simply look just left of the camera and let them adjust your eyeline more if needed.

Aim to do your job with no speech at all.  See if you can do everything as an action, without words.

If someone on set requires an answer from you (that is, if someone requires you to speak when you’re on set), aim to answer as simply as possible.  Keep to three possible answers if you can: “Yes,” “No,” and “I don’t know.”  For example, if a camera assistant is asking if where you’re standing is a new mark, say “I don’t know” rather than “Um, they moved me a bit but haven’t said yet if this is where I should be.”

Try the challenge out for a camera setup.  Then, try the challenge out for a whole scene.  Eventually, aim for longer lengths of time, such as for a half-day or for a whole day on set.  See how long you can go using few to no words as you stand in.  See if you can even go a whole day standing in on set without saying a peep!

And one side note: The Zero Speech Challenge applies really only when you stand in on set.  When you’re excused from set, the challenge doesn’t need to continue, so feel free to talk when you’re off set!

So, what was the experience like?  We want to know!  Comment below about your experience of Stand-In Challenge #1: The Zero Speech Challenge!

Whether or not it’s requested by a casting director, a stand-in résumé is a great tool to use to list your stand-in experience for your own reference. There is no one way to format it, so I’ve included suggestions of what information is helpful to add to a stand-in résumé.

Actors and Projects

The most important information on your stand-in résumé is going to be a list of the names of the actors for whom you have stood in. If you prefer, you could also list the names of the characters that the actors played.

It is equally important to list on which project(s) you stood in for that actor. Some actors sport varying looks in their different projects (different hair colors, hairstyles, facial hair, weights, etc.), and casting may want to know what look you matched.

If you were used regularly to stand in for multiple actors on a project, you could list these actors’ names on separate lines with the project name next to each name. You could also group the actors’ names together and list the project name only once.

Utility Stand-In Work

You may have been used to stand in for multiple actors for whom you were not physically a great match, or you may have been used often to stand in for dayplayers on a project you regularly worked on.

In these cases, you should use the term “Utility” in place of the actors’ names. This will help to avoid confusion that may arise if you list actors you have stood in for whom you don’t really resemble.

Photo-Doubling

There are some projects for which casting is directed to find a stand-in who could also work as a photo-double for the actor if needed. In these cases, casting would want information about your measurements and your photo-doubling experience.

Just as with stand-in work, for photo-doubling work you should include the actor you photo-doubled for and the project name. You could also mention the body parts for which you have photo-doubled (hands, legs, back, etc.).

For photo-doubling work, it’s helpful to include somewhere on your résumé your basic measurements (height, weight, bust/hips/waist, etc.) and general clothing sizes (dress or shirt, jacket, pants, shoes, etc.).

Formatting Your Résumé

Your stand-in résumé will more resemble an actor’s résumé than a business résumé.  Your stand-in résumé will feature a large heading showing your professional name.  Just below your name will be your contact information and union affiliations, along with your measurements and clothing sizes.  Below this section will be columns displaying your work experience.  Any supplemental work experience (special abilities, talents, training, etc.) rounds out your stand-in résumé.

Listing Your Work Experience

A straightforward way to list work experience on your stand-in résumé is by creating two columns. In the first column, list the names of the actors for whom you have stood in. Line it up next to a second column in which you list the name(s) of the project(s) on which you stood in for the actor.

Ordering Your Work Experience

The most recent project would generally be placed at the top followed in order by previous projects, much like listing job experience on a standard work résumé. Listing the dates of the projects is optional as well. It may be to your advantage to list dates if you stood in on a project long-term, such as for several seasons of a television show. This information could be added to a third column.

Film vs. Television

Listing your stand-in experience on films separately from your stand-in experience on television projects is up to you. Unless you’d like to fill out the page more, it’s acceptable to list everything in one category.

Photo-Doubling

You may want to note projects on which you only worked only as a photo-double for an actor and not as the actor’s stand-in.  “Photo-Doubling” is an optional section you could that would help fill out your résumé.

Get Started!

Sample Résumé (Adobe .pdf)
Click here to view a sample stand-in résumé to guide you in creating your own.

Résumé Template (Word .doc)
Click here to download a template for creating your own stand-in résumé.

Sample résumé and résumé template created by Ben Hauck.

Have fun with your résumé! Since there is no formal standard stand-in résumé format, you can make it your own. Keep in mind that there is a lot of optional information to add or not to add, so set up your résumé in the way that promotes you the best.

Good luck!

Have you found it helpful to have a stand-in résumé on hand? Any tips you’d like to share with others about making one? Please comment below!

I’ve stood in with actor Haley Zale for a couple seasons on Showtime’s Nurse Jackie.  As a stand-in, Haley demonstrates a lot of respect for the job, and I asked her what interesting take she might have on standing in for an interview for Stand-In Central.

Haley wanted to comment on standing in for actors who are dissimilar to herself, something she has intimate experience with.  Read the interview with Haley Zale below!

- The Editor

Haley Zale

SIC: What’s your name and what do you do?

HZ: My name is Haley Zale and I work as a stand-in when I’m not auditioning for acting roles.

SIC: Who are some of the actors for whom you’ve stood in?

HZ: I have regularly stood in for Merritt Wever for Seasons 3 and 4 of Nurse Jackie.  I’ve also stood in for Jill Flint on Royal Pains, Tiffani Thiessen on White Collar, and day-played for actors such as Julia Ormond, Jacqueline Laurita of The Real Housewives of New Jersey fame, Marian Seldes, Jaimie Alexander, and Eddie Shin.

SIC: Oftentimes a stand-in is similar in key ways to her first-team actor.  You, however, have had experiences being quite different from your first-team actor.  What are some ways you’ve been dissimilar to your first-team actor when you’ve stood in?

HZ: It hasn’t been unusual to stand in for a person that is very dissimilar to me.  The most extreme case was when I stood in for Eddie Shin on Royal Pains.  I was different both in gender and ethnicity.

Height, weight, hair and eye color have been different as well.  The majority of my stand-in experience has been for Merritt Wever, who is 3/4 of an inch shorter than me and has lighter brown hair.

SIC: When you have stood in for a dissimilar actor, did you compensate in any way to be more similar to your first-team actor?  How do you recommend compensating for differences?

HZ: When I stand in for a first-team actor who is dissimilar to me, there are certain aspects I’ve learned that I can’t control.  I can’t control my ethnicity or my gender or my height or my eye color or my skin tone.  But I can adjust a couple things.

If my first-team actor is taller than me, I can easily slip into a pair of high heels.  I have a stand-in bag with three different pairs of shoes, varying in heel size.  I have a pair of ballet flats, a pair of 1-inch heels, and a pair of 3-inch heels.  I’ve found that with this collection I can switch into shoes that better match the height of my first-team actor.

However, being taller than my first-team actor has proven to be trickier.  Bending my knees isn’t a feasible option.  Squatting for 45 minutes as the lighting is set is a thigh workout that will exhaust me for the rest of the day.  Slouching will sometimes work, although that can also be painful to the body.  I will use slouching sparingly, only when the camera operators or the director of photography are looking at the shot.

My favorite trick is to take a wider stance.  It’s a simple fix to shave off a half an inch or more, depending on how wide the stance.  And it’s a comfortable position to sustain for a 14 hour day!

SIC: For what characteristics do you find it most important to adjust?  For what characteristics do you find it less important to adjust?

HZ:I find it most important to adjust my height.  I’ve found it less important to adjust my hair, although it makes me more confident when standing in for someone who looks dissimilar to me.

I can make slight suggestions with my hair by copying the style of my first-team actor.  For example, when Merritt Wever’s hair is in a lower bun, I make sure my darker hair is in the same style.  When her hair is in ponytail, I do the same.  In order to keep my position as a stand-in, I feel that paying attention to detail and doing a good job are aspects that I can control.

SIC: Have you considered changing your everyday appearance in some way when you’ve regularly stood in for a dissimilar first-team actor?

HZ: I have considered lightening my hair to keep a 10-episode job as a stand-in.  But I didn’t do it.  I investigated using colored Halloween hair spray that washes out, but the yellow turned my hair greenish and looked too artificial.  No one asked me to lighten my hair.  It was an idea that I had based from my own insecurity.

Permanent color was not an option.  Coloring my hair would result in it being different than my natural color in my own actor headshots.  I wasn’t willing to re-market myself with lighter hair.

SIC: Sometimes being dissimilar to an actor can threaten a stand-in’s self-esteem on set.  How would you recommend someone deal with feeling different with her first-team actor, as opposed to having her same height, same hair color, or some other identical characteristic?

HZ: Remember one thing when you’re booked for stand-in work: You’re BOOKED! There is a reason they booked you.  Yes, you can easily be replaced with someone who is probably a better fit.  But being smart and paying attention to the character mannerisms and stances–and most importantly, blocking–will show your professionalism and help you keep your job.

SIC: Do you let differences in appearance keep you from submitting yourself as a candidate for an actor’s stand-in on a project?

HZ: Sometimes I let differences in my appearance to an actor inhibit me from submitting as her stand-in.  Usually I won’t submit for a blond actress.  But if there is a posting for a brunette who’s within an inch of my height, I will submit.

SIC: Do you have any advice for a stand-in looking for regular stand-in work but for an actor she doesn’t resemble?

HZ: My advice is to try it!  Being selected to stand in for someone is out of your control.  But what you can control on set is your behavior.  Do a good job listening for them to call “check the gate” before they ask for second team.  Be easily accessible and always let someone know if you step off the stage.  Doing these things will show your professionalism.  If there are ways you can wear your hair to resemble your first team actor, do it! Even if it’s not a flattering look or the way you usually wear your hair.  Once the DP and the director see your professionalism, they’ll invite you back to work again.  And soon it can turn into a regular stand-in gig!

SIC: Anything else, Haley?

HZ: Color cover and nametags have become my two best weapons.  I work on a TV show where a new director comes in every two weeks.  I make sure I have a new nametag with both mine and my first-team character’s names on it for the first few days with a new director.  I wear my name tag proudly!

Color cover serves as a bold statement that I am standing in for this actor.  She will wear pink in this scene, so I wear pink while standing in and during second-team rehearsals.  Even if the clothing that wardrobe gives me for color cover is too big, I still wear it with pride. I become associated with that color and associated with my first-team actor.

SIC: Haley, that’s a wrap on this interview!

HZ: Great!  See ya!

Haley Zale lives in New York City.  Her website is http://www.haleyzale.com.

Say that your calltime is around the same time the crew is in. What are some of the things you can get done before your calltime?

Collect Your Voucher

One of the first things you’ll likely want to do before your calltime is collect your voucher. This is not only so that you can get paid, but also so that you can collect your color cover. You will usually get your voucher from the background P.A. when you check in in holding.

If you’re told to report to set rather than holding, you might not get your voucher until later from the background P.A. In such a case, when you see the background P.A. later in the day, ask for your voucher. Else, you can collect your voucher from the background P.A. when you wrap.

Collect Sides

On many sets, when you collect your voucher, you will also be handed sides. Sides are the scenes being shot today. On the cover of the sides is the callsheet, indicating a lot of information about the shoot today. Quickly study the callsheet on the cover of the sides to determine the name of the actor and character for whom you’re standing in as well as the location of set where you need to be.

If sides aren’t available from the background P.A., usually an A.D. on set will have sides to give you. Just ask, say, the 2nd 2nd A.D. It is very important that you have sides so that you know about the scene(s) in which you are involved, so don’t hesitate to ask.

Get Color Cover

Once you have your voucher, you can head to the wardrobe department to collect color cover. Color cover is clothing that is similar to the clothing worn by your actor in your scene(s). Make sure to at least have your name on your voucher–you trade your voucher for your color cover.

In some cases–such as when you are unable to collect your voucher–the wardrobe department might accept your union card in place of your voucher. Still other times the wardrobe department might require nothing from you in exchange for your color cover. Do your best in providing them what they need from you.

You might be responsible for several different items of color cover. Arriving before your calltime gives you an opportunity to find a place to set your extra color cover.

Set up “Stand-In Paradise”

When you arrive before your calltime, you can figure out a place near set to set your belongings.

Likely you will be entitled to a chair when on set, though sometimes you may have to be patient in getting a chair. Getting to set early may allow you some time to scavenge a chair to use and set up “Stand-In Paradise”–what I like to call the area near set where stand-ins’ chairs and belongings are.

Get Breakfast

When you’re called around the time crew is called, you may have time before your calltime to get breakfast. If you have a specific breakfast item in mind, keep in mind that other crew members are ordering items and you may need extra time to get your custom-made burrito, breakfast sandwich, etc.

If you see on the callsheet or hear from the background P.A. that you will be “NDB’d,” this means you will have a 15-minute period of time for breakfast. (“NDB” stands for “non-deductible breakfast” and helps to bring your lunchtime roughly in sync with the crew’s lunchtime.) If you’re being NDB’d, you might skip out on getting breakfast before your calltime so that you can get other things done.

Scope Out the Location

When you’re at a new location, it can be helpful to find the set before your calltime. If you’re called to holding, sometimes set will be a considerable walk from holding. Arriving early can help you figure out how close set is as well as manage how much of the above you can realistically get done before your calltime.

Scope Out the Bathrooms

Since it may be hard to find time to step off set to hit the bathroom, knowing where the bathrooms are can help you estimate how quickly you can get in and out of the bathroom when you’re working.

Knowing where the bathrooms are (or aren’t!) may also help you regulate how much you hydrate yourself in the morning. If a bathroom is far away from set, it might be a good idea to watch your liquid intake.

So, How Much Time Before Your Calltime Should You Arrive?

If you did all of the above in a studio where holding, set, the wardrobe department, and breakfast are close, you could get all of the above done in a few minutes. If you’re at a location where things are sprawled out, all of the above could take 15-30 minutes.

Given that “on time is late,” generally aim to arrive 15-45 minutes before your calltime when you’re standing in. 45 minutes before your calltime probably is at the level of overachievement, but in most cases it will allow you plenty of time to get the above done and enjoy your morning. Giving yourself 15 minutes may make you a bit crazed if you try to get all of the above done, but it may also be just enough time.

What things do you try to get done before your calltime? Are there other things you try to get done before your calltime? We’d like to hear. Post your response below!

If the mark is in the shape of the letter T, your feet should go on opposite sides of the stem of the T, and your toes should touch the underside of the top of the T.  Marks usually designate a very specific location determined first by the actor in the rehearsal of a scene, then adjusted by the camera department as they set up the shot.

When you are standing in on your mark, often you will be adjusted by the camera operator.  This movement almost always implies that you will need to be “remarked.”  The responsibility of remarking you is that of the camera assistant. This is usually the crew member who originally laid down the marks during marking rehearsal, but more generally it is the responsibility of the camera department.  Remarking is not the responsibility of the stand-in.

From time to time, you will be moved from your original mark and need to be remarked.  Here are some tips on how to address getting marked or remarked when you’re standing in.

Wait to Be Remarked

The most common scenario you will find yourself in is that you will be repositioned from your original mark.  This will mean that you will need to be remarked.  Often, the camera assistant is paying close attention to whether you’ve been moved during the setup of a shot, and the camera assistant will take care of remarking you without needing to be asked.  However, sometimes the camera assistant will be busy doing other tasks, meaning the camera assistant will miss that you’ve been remarked.

In general, do nothing if you’ve moved but not remarked.  Instead, wait for the camera department to call for you to be remarked.  In most cases this will happen within a few minutes of your being repositioned.

Ben’s Tips!
#1 – When you’ve being remarked, pay attention to where your feet are.  Sometimes in your new position you will be standing on the tape for your old mark.  In making your new mark, the camera assistant may simply move the old tape.  So, make sure you give the camera assistant room to move your mark … but also stay on your new mark!
#2 – All the while, try to keep your attention up and where it should be while you’re getting remarked.  While you’re being remarked, the DP might be looking at you to see how the light falls on you.  Staying focused on the ground can take away precious time from the DP as the shot is being set up.

Ask to Be Remarked

If you are asked to move to a second position (that is, from your first mark to your next mark in a scene), it is usually critical that you are first remarked before you move to the second position.

If you’re being asked to move to your second mark before being remarked, politely let the camera department know that you need to be remarked.  You can tell either the camera assistant or the camera operator.  (If for some reason neither is available, let an A.D. know that you need to be remarked.)

Generally, do not move to your second mark until your new first mark has been remarked.  Doing so will preserve the work already done in setting up the shot.

Ask for a Mark

Sometimes a mark will not be laid down during the marking rehearsal at a place where your actor stops or stands.  Other times an additional position will be added to a scene after the marking rehearsal.  If you’ve been positioned in a place without a clear mark, and you feel the actor will need that mark in performing the scene, you might ask for a mark.

In such a case, again, politely ask the camera assistant or camera operator for a mark.  A mark may or may not be important to the camera department in such a case, but it can’t hurt to ask if you feel a mark would be helpful.

Ask Before Moving Your Mark

If things are a bit crazy on set, and if the camera assistant is nowhere to be found, it might be easier for you to remark yourself than to have someone else remark you.  In general, though, do not remark yourself without asking.

If it looks that it might be optimal for you to remark yourself, first ask permission from the camera operator if it’s okay to remark yourself.  In so doing, the camera operator may immediately call for the camera assistant to remark you, or the camera operator may even remark you.  At other times, the camera operator may say it’s okay to remark yourself.

However, very rarely would you remark yourself.  Marking and remarking yourself is not your responsibility.  If you marked and remarked yourself without asking, you potentially would interfere with the camera assistant’s responsibilities and potentially cause conflict.  In general, always ask permission before moving your mark.

Do you have any tips on getting marked or remarked as a stand-in?  Have you had any interesting experiences in terms of getting marked or remarked?  If so, please share below!

Last week, in the first installment of the first two-part interview of the Stand-In Central Interview Series, Kat Murello talked about her experiences standing in on awards shows, game shows, and runway shows, and offered advice should you find yourself booked on one of these unusual projects.  Make sure you give it a read.

In this week’s installment, Kat Murello makes a case for getting stand-ins credited in the closing credits of projects they work on, a case I can really get behind.

- The Editor

Kat Murello, Stand-In and Television Host

SIC: How often have you been credited as a stand-in in the end credits of a project?

KM: I have been the film set or series stand-in on at least 20 projects, and unfortunately I’ve only received a mention in the closing credits a handful of times.

SIC: That is not a lot of credit given how much you work as a stand-in. How do you feel about crediting stand-ins in the end credits?

KM: I am not going to pretend it doesn’t bother me that my work as a stand-in is left unmentioned when every other person on a project–from the top of the ranks down to the single-day intern–is acknowledged. As a set stand-in, you are there everyday at first call and remain until wrap just like everyone else. You are working hard and putting in your time to bring the project to fruition, too. There is no logical reason to be left out.

SIC: If someone were to tell you that stand-ins weren’t worthy of film or TV credits, what might you say in response?

KM: I don’t think I have ever heard anyone say that the role of a stand-in isn’t deserving of a credit. I think the problem lies in that there is no department to list the stand-ins with, so they are just kind of left out. If a department were determined, I am sure it would become rote to credit the stand-ins along with everyone else. We work very closely with the camera department–perhaps we should be grouped with them.

SIC: Do you think all stand-ins should receive credits on all projects they do?

KM: I think that stand-ins deserve the same recognition as everyone else who is putting 15 hours a day in on a project. Our job is to help make sure that all departments are accommodated when the camera rolls: that camera is lined up properly, that lighting is at the right levels, that the scenes’ steps make sense to the director.  All of this so that first team can step on set and simply perform. Our job is pivotal to many other jobs going correctly.

SIC: What strategies do you recommend for getting credit as a stand-in on a project?

KM: Having your name listed on the front of the callsheet rather than being listed as “SI #2″ is a good step toward getting credit on projects.

I have found that being listed on the back of the callsheet along with the rest of the crew has also been helpful.  Additionally, I have had positive experiences with talking directly to the AD team about the issue.

I have to say HBO is very good about crediting their stand-ins. When you watch their programming, usually you will see the stand-ins listed with everyone else on the crew in the closing credits. I recently worked on a series for HBO and am very hopeful that our stand-in team will be listed in the credits.

(L to R) Sarah Ann Ward, Kat Murello, Lytle Harper, and Erica Leigh Boseski, the stand-ins for HBO's television series Girls

SIC: What are you doing to bring more attention to the issue of stand-ins getting credit for their work?

KM: Actually, I have written a letter to the SAG quarterly to get a dialogue started on this issue. Also, I have made an attempt to become part of the SAG committees here in New York.

Since this is the way I make my living, the same way a dolly grip and a key PA do, this is an important issue for me, and I am doing what I can to bring this issue to the attention of the union to get a permanent rule in place about credits. My grandmother will never see the work I do, so it would be nice to have something valid at the end of the projects I am working on to show her, so that she can see what I am a part of.

SIC: What do you ultimately want to see done for stand-ins in terms of credits? When do you think you will know your work is done?

KM: Ultimately I want stand-ins to be part of the scroll at the end of every movie and television series. And I will know my work is done when my grandmother calls me and says she saw that I worked on a movie she just watched because she saw my name scrolling by with everyone else’s.

SIC: Kat, thank you for taking the time to share your opinions and fight for stand-ins.

KM: You’re welcome!

Kat Murello is a television rehearsal stand-in pursuing a career in television hosting.  Her interview blog, The Ravenous Kitten (http://www.ravenouskitten.com), features interviews with up-and-coming artists of all types: comedians, singers, photographers, filmmakers, et al.

For more opinion on giving credits to stand-ins, read “Editorial: Giving Credits to Stand-Ins” from the Stand-In Central Tips & Tricks Blog.

Kat Murello is amongst the most ambitious stand-ins I know.  Not just ambitious, she has some pretty exciting perspectives on standing in.

In the first two-part interview of the Stand-In Central Interview Series, Kat talks about her experience standing in on awards shows, game shows, and runway shows, offering advice should you find yourself booked on one of these unusual projects.

In the second part of the interview, Kat makes a case for getting stand-ins credited in the closing credits of projects they work on, a case I can really get behind.  Tune in next week for the second part of Stand-In Central’s interview with Kat Murello.

- The Editor

Kat Murello

SIC: What’s your name and what do you do?

KM: My name is Kat Murello, and I work as a rehearsal stand-in for television and film while pursing a career in television hosting.

SIC: Who are some of the actors for whom you’ve stood in?

KM: I have been a stand-in for a wide variety of performers–from Kathy Griffin to Rachael Ray, to the entire cast of Hair.  I’ve also done long-term movie stand-in work for actresses such as Jessica Alba and Elizabeth Banks.

SIC: You’ve been privileged to stand in on projects other than your regular film or TV show.  What are some of the other types of projects you’ve stood in on?

KM: Although I often do stand-in work for films and television series, a large portion of what I do is for specials such as The Tony Awards, The Comedy Central Roasts, The Celebrity Apprentice, various game shows, and runway shows for Fashion Week. It’s been a real gift because as an aspiring host myself, I’ve had the chance to work with and rehearse with some of the best in the business–like Jon Stewart and Neil Patrick Harris. You can’t get better training than that.

Kat Murello and Jon Stewart in rehearsal

SIC: I understand that these other types of projects require quite different skills of the stand-in.  What do you do as a stand-in on an awards show?

KM: Being a stand-in on an awards show is a lot of fun.  You are really required to use your talents on these jobs as opposed to many film and television series that simply ask you to stand in place and hold marks.

With awards shows you can be doing anything from reading teleprompter and doing voiceover copy, to going through dancers’ paces and giving acceptance speeches.  For one awards show I was even used with another stand-in for rappers Pharoahe Monch and Buckshot, and we had to rap their song for rehearsal while The Roots played the music.  It was crazy!  And a lot of fun!

SIC: What do you do as a stand-in on a game show?

KM: It depends on the show.  Sometimes you are used as a stand-in for the host or announcer. For that purpose, you usually are reading teleprompter.  Sometimes you are used as a contestant. In those cases, you just have to play the game and have fun with it.

SIC: And what skills are required for standing in for a fashion show?

KM: Standing in for fashion shows requires different things depending on the designer or event.  You are basically helping them to create their vision so that when the models come in they have all the timing right with the music and the lighting.  Different designers and shows require different types of walks so you have to be prepared to give them exactly what they ask for without thought.

SIC: Did you feel you needed to prepare in any way for these gigs?  How might a stand-in prepare for these types of gigs?

KM: For the Victoria’s Secret Fashion Show last year, I was the stand-in for one of the musical acts–Katy Perry.  To prepare for that, I memorized the lyrics for the songs she was to perform for the show, and I had to perform her routines with her backup dancers.  You have to really be on point with stand-in jobs like that because everyone around you needs a good rehearsal–the dancers, the camera operators, the lighting crew. You have to remember it isn’t about you–it’s about everyone around you–so you must be prepared and on your game so everyone can get the most out of the rehearsal.

But the best way to prepare for most of the stand-in jobs that I do is to be focused on the task at hand and to really stay on top of your improviser game. You need to be open and devoted to the improvisational concept of “Yes, and…” and you must be a very good listener–that is what will give the game show or television special the rehearsal they are looking for.

SIC: Do you have any color cover advice for these other types of stand-in gigs?

KM: As far as color cover goes, you are usually working with lavalier mics so you need to wear clothing that will cooperate with that–polo shirts and buttondowns are best, with a pair of jeans or pants that you can clip the battery pack to.  For fashion shows, head-to-toe black is usually the dress requirement. That, and looking as tall as possible!

SIC: Do these stand-in gigs have unusual pay scales or do they pay like your usual stand-in gig?

KM: The television shows are always AFTRA. Rehearsals for fashion shows are usually a flat rate.

SIC: Do you have any advice for a stand-in looking to get into standing in on an awards show or a game show?

KM: My best advice would be to get improvisational training. I did the program at Upright Citizens Brigade and I am constantly putting into practice the tools I learned there. I recommend reading improv books by Charna Halpern and Mick Napier.

SIC: Anything else?

KM: Working rehearsals for these sorts of shows is a gift, so be on point but allow yourself to be in the moment. You will learn things that cannot be taught in school and you will make connections that can benefit you greatly. Also, it’s very important to stay professional and be discreet. You are privy to things that aren’t available to the general public yet so you have to take the responsibility of that seriously.

Next week on Stand-In Central, Part 2 of this post: Interview with Kat Murello, Part 2 of 2!

Have you stood in on an awards show, a game show, or a fashion show?  Have you stood in on a project different from your standard television show or film?  If so, share below!

My name is Ben.  I was standing in for a character named Rich, played by an actor named Jason.

I worked in scenes with another stand-in named Erin.  She was standing in for a boy.  Her character was named Ben.

So, when I heard things like, “Move to your right, Ben,” I did not know if the camera crew was telling me to move or the other stand-in to move.  I would move or Erin would move, or sometimes both of us would move, when only one Ben was needed to move.  The experience was a touch flustering as the camera crew set up the shot.

In the same film, I worked in scenes with another stand-in whose character was named Jason.  While the issue never arose, it could have: “Move to your right, Jason” could have referred either to the other stand-in or to me (since my actor’s name was Jason).

Given this experience, I realized the value of having a unique nickname on hand for when your name matches another’s name when you’re standing in.

Struggling with Nicks and Names

On this particular project, the name problem was further compounded by having two other Bens who worked for the production.  I thought I might go by “Benjamin” … until the first production Ben introduced himself to me as “Benjamin.”  By this time, I just got used to the occasional confusion and didn’t come up with a nickname.  But, boy, would it have been helpful at the start if I came up with something?

Since my last name (Hauck) isn’t as easy to remember as my first name, using my last name as my nickname wasn’t a great option.  Perhaps I could have gone by (cringe) “Benji” or (uck) “Benny,” but these ideas (fortunately) didn’t come to me.

A nickname I figured would only be helpful if it a) were memorable, and b) were marketable.  That is, my nickname had more value if (hypothetically) someone could request me from casting by the name.  “Benji” meets a) but probably doesn’t meet b).  “Hauck” meets b) but probably doesn’t meet a).  Ah, the rub!

Finding a Nickname

You’re probably lucky if you have a unique nickname on hand.  If so, this might be a good time to whip it out or have it on the ready.

However, if you don’t have a nickname, now might be the chance to think of one.  Tomorrow, you might be on set with three stand-ins with your same name, in a scene in which one of the characters also has the same name!  (Imagine trying to block that scene–or don’t.)

In choosing a nickname, having it be marketable (i.e., related to your branding, i.e., related to your professional name) helps should the production want to bring you back, especially after some time has passed.  If production calls casting asking for “that Benji guy,” casting might not be able to figure out who you are to call you back in.  But if production calls asking for “that Hauck guy,” there’s a better chance of your being found and brought back.

Then again, it might not matter!  A funny situation, though, and one to think about if you have a common name.

What is some advice you have for choosing on-set nicknames?  Would it be better of a camera crew gave you a nickname?  Have you had any funny experiences with actor, stand-in, and character names on set?  If so, share below!

“Cover Set” Defined

A cover set is a proposed schedule that may or may not be used for the next day of shooting.

The most common reason a crew will go to cover set is because inclement weather is expected and exterior scenes are scheduled to be filmed. Rain, snow, and other weather conditions are not ideal for filming outside.

In rarer cases, a hurricane may prevent equipment trucks from parking in the streets at the scheduled filming location. (Thanks, Hurricane Irene!) In advance of such instances, a cover set schedule is created, and the crew is given notice of what this cover set schedule will be.

Preparing for a Cover Set

As a stand-in, a cover set could mean a big difference in your schedule. Depending on which schedule is chosen, you may be going to a different location or working a different part of the day. Or you may be working if the cover set is used and not working if it is not used! Make preparations for both schedules. If you have any conflicts, let casting know.

Usually a decision is made by wrap time as to which schedule is being used for the next day, and the crew is notified before they leave.  Sometimes, though, if production wraps on Friday and is to resume on Monday, crew might not be notified until Sunday whether they are going to cover set or not.  Casting won’t know until crew knows, which is usually when weather or other conditions are better understood for the next day.

Sara’s Tip!
If the crew goes to cover set and you were scheduled to work in the original schedule, find out when that day is rescheduled for so you can check your availability.

What are your experiences with cover sets? Do you have any tips to share about preparing for different schedules when a cover set is a possibility? Please comment below!

Many stand-ins step onto their marks and essentially stare at the other stand-in in their scenes.   While there usually is nothing wrong with doing so, it can be generally uncomfortable for both the staring stand-in and the stand-in being stared at.

Here are some times for addressing eyelines when you’re standing in.

Assume the Position

When a shot is being set up, usually the exact eyeline is not important just yet.  What’s more important is body position and body angle so that the scene may be lit properly and the cameras may be aligned properly.

When you’re first standing in in a scene, step onto your mark and look at the other stand-in in your scene (assuming your first-team actor did look at the other first-team actor in the scene).  Memorize the position of your body when you are looking at the other stand-in, then you can look away.  Look away only your eyes, though–don’t reorient your body.  Essentially, don’t stare at the other stand-in right when you step in, and instead simply keep your body oriented properly to the other stand-in.

Look “Home”

When you actually are asked to take an eyeline to another stand-in, often what happens is that the two stand-ins will feel slightly embarrassed or uncomfortable, then smile, blush, or laugh at each other.  Of course, this is understandable behavior, but it could also distract you and the other stand-in from instructions from the DP or camera department is making.

I call “home” the point on the bridge of the nose between the eyes.  In order to thwart the discomfort of looking another stand-in in the eyes, I recommend instead of looking into the eyes, look “home.”  Looking “home” gives the appearance you are looking into the eyes of another but will probably get you around the discomfort associated with that task.   (See this past post for more information on “home.”)

Looking “home” is probably not necessary if you’re asked to look at another actor for a very short period of time.  However, looking “home” may be helpful in those times when you have to look to another stand-in for an extended period.

How do you handle eyeline work?  Do you get bothered when other stand-ins stare?  Do you have other tips for dealing with eyelines?  If so, please share below.

Preliminaries

More than likely, if you’re to be standing in in a pool, you will be cleared to do this kind of work via the background casting office.  Casting will likely make sure that you’re comfortable working in water.  For my recent gig, casting cleared me at the very beginning before the camera test, then they confirmed with me closer to the date.

Should you be asked if you’re comfortable working in water, my first bit of advice is to be 100% honest about your comfort level working in water.  Standing in in water is a completely different experience than standing in on dry land, and it puts dramatically different demands on your body.  What likely is implied when you are comfortable working in water is that you can swim, float, and perform basic actions when in the water.  What may also be implied is that you are in good enough shape to handle a day’s worth of work in water, and that you’re comfortable working in a bathing suit or wet suit.

If you could not handle working theoretically 8-12 hours in water, cannot swim or tread water, or cannot handle cool water temperatures for extended periods of time, I would strongly recommend not saying that you are comfortable working in water.  The potential risk of misrepresenting your comfort in water is that you find yourself in a situation much more demanding than you can realistically handle.  You probably don’t need to perform a butterfly stroke or tread water for 30 minutes without rest, but you will probably need to be able to swim without fear and handle cool water temperatures maturely.  When you’re standing in in water, often you will need to be in one place in the water, which means your body is not as active as when you’re moving or swimming, meaning that you will likely start to get cold even if the water is a comfortable temperature when you get in.

Preparations in Advance

If possible, seek the date(s) you’ll be standing in in water from casting or from production.  Knowing this will help you prepare in advance for the physical and mental demands such work may have on you.

If you have a relationship with the wardrobe department, in advance of the pool work, ask what color cover would be appropriate for that day.  Confirm that the swimwear that you own will be appropriate color cover for standing in, or if the wardrobe department will be providing you with swimwear.  For my recent job, color cover was my own buttondown shirt and my own swimtrunks.

Ben’s Tip!
If you provide your own color cover that is not truly swimwear (like a shirt or pants), make sure you are comfortable working with it in water that may have chemicals in it.  In my recent gig, the chemicals in the pool dyed the principal actor’s wardrobe on contact, while my own clothing used as color cover was fine.

The wardrobe department may offer you a wetsuit to wear for standing in.  If they do, I would strongly recommend wearing a wetsuit.  Given that you will likely get cold in the water, the wetsuit will likely give you additional warmth which will extend your ability to work comfortably.

Also, check with wardrobe to see whether they will be providing you with a towel and a robe.  When you are standing in in water, you will probably be getting in and out of the water, which may eventually saturate your towel and/or robe.  You might want to check with wardrobe to see if you should bring additional towels or your own robe, or if they will be providing dry towels or dry clothes for when you’re not standing in in water.

Finally, ask what the most appropriate footwear would be.  Should you wear aqua socks when in the pool, or can you be barefoot?  Keep in mind that even if you may be barefoot in the pool, you will probably want to have shoes to wear when you’re out of the pool considering the injury risks heavy machinery around the pool may pose for you.

Preparations the Day Of

With the above information, you will know in advance if you need to, say, purchase a swimsuit, buy a towel, get appropriate footwear for the pool, etc.  The day of your pool stand-in work, make sure you set aside what you need.  Some of what you need might include:

Your swimsuit

Your wetsuit (if you own one to use)

Your color cover

Your own towel

Your own robe

Footwear (flip-flops, aqua socks, etc.)

Dry clothes for lunch or long breaks

Dry clothes for when you’re wrapped

Sunscreen (for exterior pool work)

Goggles (if you need them)

A bag for your items

Bags for holding your wet clothes (I used plastic grocery bags)

A lock (if you suspect there will be lockers to use for storing your belongings)

Conditioner or moisturizer (if your hair or skin is prone to drying out from the chemicals in pools)

An umbrella (if you suspect there will be little relief from the sun when you’re out of the pool)

Etc.

What to Expect

For my recent gig, the blocking was not too challenging to match and it only involved one actor.  But a scene in a pool may require you to watch for a whole different set of factors when you’re watching your actor and the scene in rehearsal.  Some things to watch for in rehearsals are:

The absolute position of your actor in the pool

The relative position of your actor in the pool (that is, relative to the other actors)

The amount of your actor’s head or body is out of the water at a given time

The swimming strokes your actor uses in the scene

The amount of splash and direction of splash your actor gives in a scene

The kind of entry your actor has to the pool (a dive, a cannonball, a jump, etc.)

The amount of time your actor is underwater (in seconds or beats)

What your actor is doing underwater (if there are underwater shots)

As added insurance, you may find on the day that there is a person listed as “Water Safety” on the callsheet.  This person’s job is to stay in the water and monitor the in-water activities.  The day I worked, a full-time fireman and SAG member was hired for Water Safety.  He had with him a flotation device (a bullet-shaped buoy) and was there to aid in case of an emergency.

Compensation

When you’re standing in in water under a union contract, you will likely be eligible for wet work, so you will experience a bump in your base stand-in rate for the day.

If you are asked to swim and not simply stay in place when you are in the water, you may be eligible for special ability pay, which is an additional bump on your base rate for the day.

If the work is particularly demanding, you might request additional compensation for the work, or you might consult with your union representative to negotiate an additional bump for you.  (I would only advise doing this if the demands on you are serious or are comparable to a stunt.)

My Experience

Standing in in an indoor pool was an exciting and physically taxing day for me.  While the water felt comfortable when I got in, and while I handle cold temperatures fairly well, I quickly got chilly when I had to stand in in the water in one place for a while.  When I got out of the water, I would immediately shiver even though the air temperature wasn’t cold.  I learned that since the temperature of the pool is considerably lower than 98.6 degrees Fahrenheit, eventually you’re going to get cold and for that reason a wetsuit is advisable when standing in in the water.  (I had worn swimtrunks and a buttondown shirt with no wetsuit.)

My day didn’t demand much swimming–mostly standing still in a few different places (which also induced shivering).  However, my day demanded of me a lot of listening.  In the middle of an indoor pool, there is a lot of sound bouncing around and it can be hard to hear if someone is talking to you and where from.  I’d advise keeping your eye on the DP (director of photography) or possibly the 1st AD when you are in the water because they are the most likely to communicate with you when you’re in the water.  Also, the camera operator will talk to you, so if you can keep tuned in to the camera operator, you probably will have little problem losing focus when in the water.

Even if the cold is distracting you, you need to keep aware of your position in the pool when you’re standing in.  On my day we had a crane mounted with a camera looking at me much of the time, which at times was sensitive to my movements.  Then we added manual waves that would crash around me, which added bodily stress especially given the cold.  The stress of standing in in the water may weaken your discipline, so realize you may need to buckle down and toughen up when you’re standing in in water.

All in all, though, I’d love to do it again.  I found myself wanting to do more activities than just standing in place in the water.  As the day wore on, I found myself dreading the water a bit given the cold, but I didn’t share that feeling and I got in the water whenever commanded.  Overall, it was a great experience–surprising, physically stressful, but offbeat and interesting–and I’d hope that if you’re a serious and committed stand-in with an interest in this kind of experience, that you get the opportunity to do it sometime.

Have you stood in in water before?  What kind of water work have you done as a stand-in?  Share some of your experiences below!