Below are a few uncomfortable situations you might find yourself in as a stand-in, and how you might go about handling them to ensure they are comfortable.  If you ever feel unsafe when you are standing in, do not work, else remove yourself from the situation until the situation is safe.  Notify a PA or AD of the unsafe situation in order to correct it.

Kneeling In

In some scenes you may find that your actor is kneeling in the scene.  Standing in for your actor will require you to kneel; however, you will probably be kneeling a lot longer than your actor will.  This will probably mean you will tax your knees.

Appleboxes and Applebox Seat Cover (from CinemaGadgets.com)

Two pieces of equipment you may want to request depending on how you are kneeling are a kneepad and an applebox (perhaps with a seat cover).  If your knees are on the floor, a kneepad will take away some of the discomfort of the position.  (Your first-team actor may want a kneepad as well.)  If you are crouched down, an applebox will give you something to sit on so that you don’t have to support your entire weight on your knees.  A seat cover will make the wooden applebox more comfortable to sit on.

The typical channel for requesting these pieces of equipment is through an assistant director like the 2nd 2nd AD.  The props department usually handles these items, so it may also be appropriate for you to request one of these items from a member of the props department.  Usually the best time to do this is just as you are assuming your stand-in mark after marking rehearsal.  Most of the time, crew is responsive to these types of requests since they want to ensure you are safe when doing your work.

Standing in for Someone Shorter than You

Appleboxes may come in handy when you are standing in for someone shorter than you.  For example, if you are standing in for a child, you might sit on an applebox instead of standing to approximate the actor’s height.

However, if you are standing in for an adult, you might need simply to be a bit shorter.  You can accomplish this by spreading your legs wider than your natural stance in order to drop your height.  However, doing this may tax your legs, especially if your legs are far apart.  If you find you are standing in for a long time in an uncomfortably wide position, take moments when you need them to relax your legs.

Utility stand-ins might be more prone to being in this type of uncomfortable situation given that they stand in for a number of different actors with a range of heights.  Most regular stand-ins won’t have to stand in for actors considerably shorter because they were likely brought in because they matched their actors’ heights.

Standing in in Doorways

Standing in in doorways can be very problematic, demanding, and even dangerous.  When you are standing in for an actor who is, say, answering a door in a scene, crew will often need to go in and out of the same door where you are standing in, especially if you are shooting on location.  Crew may also need to go in and out while the DP is trying to light you or the camera department is trying to line up the shot.  Your desires to move out of the way for entering and exiting crew may be held in check by the demands of the DP and camera department setting up the shot.

Further problems come up when your character is behind, say, a closed glass door.  With crew needing to be on both sides of the door, and needing to get in and out of set, the opening and closing of the door can get someone like yourself hurt while you are focused on the DP or camera department.

If possible, when standing in in doorways, stay as much in frame while also shifting your body to accommodate the passage of others.  Also, when possible, start with the door open until second-team rehearsal so that crew can enter and exit freely without your having to move places each time they pass.

Since your body may be to the back of crew, be very careful when you are moving behind yourself when standing in in a doorway.  The camera may be set up right behind you, or crew may be approaching behind you trying to pass.

Standing in in a Sex Scene

A famous scene from the film Love Actually, telling the touching story of two stand-ins for an adult film falling in love

Without prior notice, you may find you’re standing in in a sex scene.  From the stand-in perspective, these kinds of situations on most sets are rather clinical and do not require you to perform anything of a sexual nature more than perhaps lying on top of or underneath someone, or standing behind or in front of someone, completely clothed except for maybe shoes.

Crews typically become super professional during the rehearsal, marking, and setup of sex scenes.  If you feel uncomfortable standing in in a sex scene, keep in mind that the crew’s professionalism may make the experience easier for you.  At this time, there is typically a dearth of joking and humor, and the work is all very serious.  If, however, you feel completely uncomfortable standing in in a sex scene, make these feelings known to the background PA as soon as you find out that you are supposed to stand in in the sex scene so that the crew may find a replacement.

If you are to remove clothing in order to light the scene properly, request from an assistant director like the 2nd 2nd AD a robe and slippers standing by, especially if you will remain unclothed between shots.  A robe and slippers assures you will be decent and warm between camera setups.  The wardrobe department will likely be responsible for providing these items for you, and they may require that you trade your voucher for them much as you would for color cover.  Nudity probably is never a requirement from the stand-in, so if you feel there is a request with which you are uncomfortable, do not perform it, and/or consult your union representative.

Also, keep in mind that another stand-in in the scene with you may feel uncomfortable, so use professionalism yourself when on set standing in in the sex scene.  The novelty of the scene does not mean it is any less serious of a setup, and your focus is needed in it as much as when you are standing.

Know of any other uncomfortable situations standing in?  Have any anecdotes of tricky stand-in situations?  Any other advice for stand-ins in these situations?  Post your replies 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

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!

The Stand-In Central Interview Series have given readers insight into the unique experiences of several types of stand-ins.  Standing in for a lead actor on an entire film shoot can be one of the most exciting and rewarding stand-in gigs.

In this interview, Stand-In Central’s very own editor Ben Hauck shares his story about standing in for Jason Bateman on the upcoming romantic comedy The Switch, and he tells us about his other ventures including the creation of StandInCentral.com.

The Switch hits theaters Friday, August 20th!

- Sara DeRosa, Contributor

Ben Hauck

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

BH: Hi!  I’m Ben Hauck.  I’m an actor, athlete, and improv comedian based in New York City.  I also work as a stand-in in television and film, and edit Stand-In Central, this very website about the job of the stand-in.

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

BH: Probably of most note, I’ve stood in for Jason Bateman in the film The Baster, now titled The Switch, and for Peter Facinelli on the second season of Nurse Jackie.  I’ve also worked regularly as a back-up stand-in on the television shows Gossip Girl and Mercy.  Way back when, I even stood in for Leonardo DiCaprio in the re-shoots for The Departed.  Scorsese!

SIC: The Switch comes out this Friday, August 20th! What was the interview process like for the job of Jason Bateman’s stand-in?

BH: I’m glad you asked that because it was quite memorable to me.

About a month prior, a casting director called me out of the blue saying he’d like to submit me for the job of Jason Bateman’s stand-in on the film.  I thought, Hey, I guess I am a decent match for him.  Eventually I got the call that I landed the interview.

The morning of the interview, the subways were not working in my favor, and I had to sprint to the studio from the subway station so I didn’t blow my chances.  Fortunately for me, the production assistant who welcomed me was more interested in making me feel good about being there than feeling bad about being a few minutes late and out of breath.

I met the three other candidates for standing in, who bonded all very well while I talked to one of the four interviewees for the job of Jennifer Aniston’s stand-in.  Talking to her helped me take my mind off of the nerves the experience raised.  All of the other Jason Bateman candidates seemed to me quite able to book the gig, and I felt a little voice in my head thinking I probably would not get it in light of the others.

Suddenly, the four interviewees for Jennifer Aniston’s stand-in were called down to set.  Almost as immediately, they returned to where we were holding.  Surprisingly, the woman who landed the gig was the least like Jennifer Aniston.  I would later learn from this woman that she found out she did not land the gig, but they would be using her for the day.

Then, the Jason Bateman candidates were called down.  Soon after arriving on set, we were lined up on the stage they were using for camera testing.  Jason came out and stood in the center.  Two of us flanked each side of him.  The director of photography, Jess Hall, directed us to face forward, then turn profile.  He also had us switch places with the person next to us.  Jess then suddenly removed two people, then another, and I was the one left standing.  I felt as if I’d entered a tunnel.  Jason shaked my hand, referring to me as his doppelgänger.  For all intents and purposes, I’d landed the gig.  Jess asked if I’d stood in for anyone else before, so I mentioned standing in for Leonardo DiCaprio.  And we were on our way.

I was used for the camera test that day as Jason and Jen tried on various wardrobe options, and I took time learning about standing in from the experienced stand-in who’d booked the Jennifer Aniston gig for the day, as well as the names of the crew members with whom I’d be working in the next two months.

It wasn’t until a day or so later that I got a call confirming that I’d landed the gig.  And let me tell you, I was calm that morning, but come 2pm my anxiety was so intolerable I forced myself to nap to put the gig out of my mind.  If memory serves, casting called around 3pm, waking me up, confirming that I’d booked the gig.  The casting director explained it would be an 8-week gig and that Jason worked nearly everyday.

SIC: What did you like best about your experience working on The Switch?

BH: Oh goodness, the experience was rewarding in so many ways for me.  I’m very proud of my work as a stand-in on this film, and I learned so much about standing in from the experience.  I also learned a heck of a lot about filmmaking that I hadn’t picked up from a day here and a day there on other sets.  I’ve met a tremendous amount of crew and actors whom I continue to see to this day.  I feel quite networked now, and I love being able to say hi to so many people when I work.

But even though we shot in Spring 2009, the experience is still ongoing for me: I’m really curious to see how The Switch turns out!  I worked all 39 days of principal photography.  I keep saying to people that I imagine watching it will be more like watching “a schizophrenic documentary” than a story.  I imagine I’ll be saying to myself, “Oh, I remember that day!!” and then “I remember that day, too!” probably more than following the storyline.  At least the first time watching it!

SIC: Did this stand-in gig lead you to other opportunities?

BH: Yes, it did.  The stand-in job on The Switch helped me develop a relationship with the casting director, for whom I was never a source of problem or stress.  After the filming was done, I eventually found the same casting director calling me regularly for stand-in opportunities on projects he was handling.  I found myself standing in with some regularity on Law & Order: Special Victims Unit, Mercy, and The Big C.  I believe these opportunities came from the casting director’s having had positive work experiences with me.

My work on The Switch developed a trust that I can stand in and do it well.  After The Switch, I pursued stand-in jobs with more fervor, eventually landing the job of Peter Facinelli’s regular stand-in on the second season of Nurse Jackie when a hole opened up.  In the pursuit of mastering standing in, I “geeked out” a bit at the job, continually thinking of ways to do the job and do it better.  This geeky interest in standing in led to another opportunity: Stand-In Central.

SIC: You’re involved with several creative projects and other activities. Tell us more about your other pursuits.

BH: Apart from Stand-In Central, to date, I’m very fortunate to be making a living as an actor.  Most of my weekdays are filled with acting or stand-in jobs, and from time to time I fit in a go-see, an audition, or a callback when I don’t have acting work.  I’m a trained stage actor, so I feel the need to get onstage from time to time.  For that reason, every month or so I make a point of performing improvised sermons at variety shows when I’m invited.  I perform as The Reverend Raymond Nader these audience-inspired Pentecostal sermons, and the experience is a lot like jumping off a cliff or riding a roller coaster.  The results are usually uproarious.  I have videos of many of my improvised sermons on my website.

Improv, specifically long-form improv, has been a long-time interest of mine.  For a number of years I developed my own approaches to teaching and directing long-form improv with an independent improv group in the city.  More recently I’ve developed and directed a multinational improv training program for a corporate client that had me teaching long-form improv in NYC, Toronto, and London.  Currently a book I’ve been working on for six years on long-form improv is under consideration for publication with a major university press.  Fingers crossed!

When I’m not acting, I’m probably training for a marathon.  I have two marathons scheduled for this November, and I’m qualified to run the Boston Marathon in 2011.  Basically, about all I can fit in a day is an acting job and a training run, with maybe an hour or two for catch-up on other things before going to bed.  Unfortunately, though, the acting gigs have been so long and so frequent, my training has been suffering.  I need more time to rest and run!

Apart from acting and running, I also am involved in the field of general semantics.  General semantics is the study of the ethical use of language.  It’s a field not so much interested in speaking correctly as it is in speaking properly.  General semantics has been an interest I’ve cultivated since college when I first stumbled upon it, and it really improved the quality of my thinking.  Since moving to New York City I’ve been able to connect with people involved in the field.  I now serve on the board of trustees for the Institute of General Semantics and the board of directors for the New York Society for General Semantics, and I webmaster both of their websites.  Most of my published work has been in the journal for general semantics titled ETC: A Review of General Semantics, but I also keep a blog on general semantics titled Off the Map: Notes from the Territory.

SIC: How do you manage all of these endeavors? What helps you to balance your life?

BH: Ha!  I don’t!

Nah, I do okay.  Priority tends to go to acting work.  In theory, my day will be spent with 12 hours of work on a set, two hours allowed for the commute to and from, and two hours dedicated to a run in Central Park.  Then sleep.  However, when I’m working on different sets, turnaround times for me between productions can mean that I have to sacrifice a run.  While I don’t usually get too neglectful of things in my life as a result of being so busy, some things I used to do immediately get pushed to Sundays when I tend to have more time.  I keep a to-do list with many items on it, and it really keeps my life in order.

Balance is not really possible in my life given that my kind of work is not very balanced and most of my projects require a lot of time to complete.  Balance is not as key in my life as is coordination. Sometimes I just don’t have time to coordinate everything I want to do in a day.  I have to look at weeks at a time to plan when something will happen. It’s a pain to have to suffer a bit with an untidy bedroom because I don’t have even a few minutes to, say, put away some clothes.  But the work I do makes me happy, so it’s a small price to pay.  I plan on putting clothes away on another day when I know I have some time.

Ben Hauck

SIC: What inspired you to produce the website Stand-In Central?

BH: The opportunities I had standing in on The Switch led to the creation of Stand-In Central.  The first day on set of The Switch, the 2nd 2nd AD slapped down a sheet of paper in front of me, on which was defined the term “stand-in” and an outline of the job responsibilities.  He’d co-written it with a production assistant we both knew.  My first reaction to receiving this sheet was offense!, but secretly, I was so relieved to receive this overview.  The job–for which up until this time I had been grabbing at straws to understand fully–was now structured for me.  I knew what was expected of me, and I wouldn’t have to be continuously thinking, “What should I be doing now? Now? And now??”

I thought such a clear outline of the job would benefit not just me, but also other people who found themselves thrust into the job of stand-in.  Less than a year later, I put my understanding of the job into a website at little cost, beta-tested it with the contributions of other stand-ins and production people, and here it is today, helping people to understand the various things stand-ins experience daily.

SIC: You’ve given a lot of great advice on this site. What are your favorite topics that you have highlighted so far?

BH: I set up this feature on the site and called it “Ask Stand-In Central.”  It was intended mainly for people who work as stand-ins to seek answers to questions they might have about the job.  There isn’t much online about the finer points of standing in, so when you have a question, you can feel quite lonely.

Recently I got an email at 11:30pm from someone with a stand-in interview the next day.  She wanted to know how to handle the interview, so she’d been searching online and found the website.  Minutes later I emailed her some perspective on stand-in interviews, and I passed along a blog post about how interviews can go.  She replied the next day with a comment that she’d landed the gig and that the site was helpful for her.  That felt great!  It’s just what the site is for!

I also like the convenient section “What Is A Stand-In?“  The section provides a nice overview of standing in and structures the job so that someone can read it and feel relatively prepared to stand in.  Not all stand-in gigs are a matter of standing in place with next to zero responsibility; many stand-in jobs are demanding and that section can help people new to more demanding stand-in jobs understand their responsibilities.

And there’s a soft spot in my heart for the interviews with professional stand-ins.  A lot of traffic comes to the website from people interested in the interviews with particular stand-ins.  I’m sure it’s fun to read up on this “secret society” of sorts.

SIC: Anything else?

BH: I guess I’d like to say that the opportunity to stand in can be a precious one.  If you’re an actor like me, with the job of standing in can come immediate and eventual acting opportunities.  You get to watch principal actors as they go through their processes and develop their characters, which can inform your own professional acting.  You get to meet a number of professional actors and crew, some of whom may develop into people you work with later and may be in a position to request you for work.

But you also may have acting opportunities yourself.  Aside from the occasional time you might get thrown a role when you’re standing in, you might get to do offcamera acting.  For The Switch, one of my most memorable times was when I was reading Jason Bateman’s lines in order for the camera crew to shoot reaction shots of the featured background actors.  For The Switch there were two directors, and one director felt the featured actors in the first take had acted their reactions too much.  This director wanted to see more genuine reactions of awkwardness from the actors, so he came up to me and whispered, “Okay, start the dialogue, and a few lines into it, say ‘Fuck!’”  I was up for this challenge.  I told only Jennifer Aniston’s stand-in and the DP that this was going to happen.  The director confirmed with me privately that he wanted me to do that.  No one else knew.  Away I went …

We rolled.  I did as the director asked, then also started talking rudely to the background actors to Look at me! as I was talking.  One featured actor actually responded verbally during the take to my rudeness.  I stumbled over lines (intentionally), complained how hot it was, and even tried to get the crew to cut, mumbling that I’d probably just lost my job in light of this “bad take.”  Upon hearing cut from the director, the other stand-in erupted in laughter, the DP was all smiles, and the first director was pleased … though the second director, who had been sitting about 4 feet from me, hadn’t been clued in!  The second director eventually complimented me, all smiles about what had just happened.

I later learned that a) the directors’ assistant, who was also reading lines in the scene, texted the whispering director during the take that “Ben’s lost it” or something to that effect, and b) the background indeed thought I’d lost it, because word spread for a few days that I’d melted down in a take!

The next shot, not minutes later, I had another acting opportunity: To deliver a heartfelt monologue for more reaction shots.  This time, I was on the verge of tears when delivering it.

I wasn’t “just a stand-in” when booked as Jason Bateman’s stand-in in The Switch.  I was still an actor, and these acting opportunities were chances to practice my craft in the big league and also show my stuff.  It was such a satisfying day.  (On that same day, I just remembered, I got to deliver a heartfelt monologue offcamera but directly to Jennifer Aniston in reading another character’s lines.  To think that I could be working a 9-5 job instead!)

When you stand in, great things can happen.  You’re often a witness to cinematic history.  Better put, you’re a part of it.

SIC: Thanks so much, Ben!

BH: Sure thing!  Thank you!

Ben Hauck is currently playing FBI Agent Graham on the second season of White Collar.  His website is http://benhauck.com.

Where to Study Your Principal Actor

When you are studying your principal actor, you will want to avoid being in the actor’s eyeline when the actor is rehearsing or doing takes. This typically means that in order to notice changes in the blocking, you will need to watch your actor from monitors behind the scenes.

Any given set will have a number of monitors available to the crew. There may be dedicated monitors for the DP, for the director and script supervisor, and for the rest of the crew like hair, makeup, and wardrobe. The sound department will typically have their own monitor(s) on the sound cart as well.

While the situation may vary from set to set, usually it is best for stand-ins to watch takes from the monitors used by either hair, makeup, wardrobe, et al., or the sound department. If this is not very practical, you might watch from the director’s or the DP’s monitors, but you would usually do this from afar where you can’t obstruct the view or interfere with their work.

Ben’s Tip #1!
Given the importance of everyone’s job, as a stand-in you want to be mindful of others’ views of the monitors when you are watching. If you stand with your chest facing the monitors, your full body may be blocking the view of another crew member behind you. When the monitors are crowded, if you stand with your body sideways to the monitors and watch the monitors from over your shoulder, you make it easier for more eyes to view the monitor.

When you are doing background work at the same time as standing in, it may be physically and practically impossible to watch your actor’s blocking, in which case there’s not really much you can do; the camera department may clue you in to changes when you return to standing in. In the rare event a crew member gives you a hard time about not knowing changes in the blocking, quickly and politely explain you were working background in the scene and couldn’t watch the takes. If it helps alleviate any problem, also inform an AD or the background PA of the conflict of interest in doing stand-in work in the scene in case the directing department wants to swap you out of background to let you watch your actor’s blocking.

What to Watch For During Takes

As you are watching the monitors, you will want to watch what actually happens onscreen. While blocking may stay essentially the same from take to take, often enough little changes in the blocking crop up that may be meaningful to the camera department. Of course, significant changes in blocking can also occur. A few examples of changes include:

• The actor may add a movement during a take that was not marked in marking rehearsal.
• The actor may add a look or body position that was not rehearsed.
• The actor may sequentially handle particular props, or even handle props in new sequences from take to take.
• The actor may add texture to the performance by cumulatively adding blocking details from one take to the next.
• The actor may adjust timing and blocking off of the lines and blocking of other actors in the scene.
• Whole chunks of blocking may be added or omitted after the marking rehearsal or the second-team rehearsal.
• Etc.

When you are asked to step back in to stand in, having knowledge of these changes will keep you up to speed with the camera crew and DP, since they will already be intimately involved with these changes from the takes they’ve just seen and filmed.

Ben’s Tip #2!
As you are watching the monitors, it may aid you as you watch each take to go over the blocking as it unfolds during a take. Sometimes I will softly pantomime during the take the actor’s specific blocking so that I can develop my muscle memory of the blocking. Other times I will play prediction games with myself, telling myself a “play by play” of what blocking the actor will do next. (“He’s going to close the door, sit down, pick up the phone, dial a number, …”) Both of these silent methods help me to develop my expertise over the principal actor’s blocking.

The Monitors Don’t Tell All

When you’re watching from the monitors, you can’t see everything that actually happened during the shot. From the monitors, you may have trouble distinguishing actual marks the actor lands on, depths the actor travels, or changes in the actor’s eyeline. Blocking may have shifted or morphed but you might not have noticed it.

Try your best to come with the knowledge of what you saw on the monitors when you step back in as second team. However, don’t hesitate to ask a blocking question or two if something was unclear to you from the monitors. While you are the expert on your actor’s blocking, you aren’t omniscient. The camera operator may politely clue you in to changes you didn’t catch. Your relationship with the camera department will probably be better if you regularly demonstrate that you keep pace with the actor’s changes in blocking without their having to tell you every change.

So You’ve Seen Enough?

While technically it is important to watch every take your principal actor does to note changes in blocking, as you do more coverage and angles on the same scene, blocking tends to change less and less. This may mean you come to a point at which you’ve basically got the scene down pat. In such a case, you probably can relax … keeping in mind you could be called back to set at any moment and asked what the actor did blockingwise in the scene.

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!

It’s Nothing Personal

As a stand-in, you’re not the only crew member who is continually being moved around.  Video Village is continually reposititioned so that it’s not in shots, and along with its movement go producers, writers, directors, assistant directors, and other important production people.  While they may have a bit more comfortable position in that they tend to have dedicated chairs, tents, even heating, they rarely get to settle in one place and simply stay there.  It’s nothing personal that you have to move around a lot.

Change Your Expectations

When you change your expectations from thinking you can find a place you can settle to thinking you won’t be able to find a place where you can settle, you may find it easier to go with the flow of production and avoid developing attachments to where you are.  You may realize that any place you put your stuff, or your body, may need to be moved, so you had best avoid getting comfortable.  Without developing attachments to where you are, you’re more flexible when you’re asked to move and better able to deal with the changing circumstances.

Label Your Stuff!

When you try to set up a space to call home on set, set dressers may find that your area is in a shot.  It is their job to broom the set, including disposing of food and drinks that are lying around.  If drinks are unlabeled with your name, occasionally set dressers will ask aloud if anyone wants to claim the drink, but often fairly quickly the drink (no matter how cold or hot) will end up in the trash if not immediately claimed.

The advice would be that if you don’t want your drinks thrown away, label them.  This advice holds for other property you might bring to set, including bags, laptops, or other loose items you might leave in places.

If you bring a foldable chair to set (not a bad idea if you would like to have something to sit on), you will probably thank yourself for labeling it with your name in case someone else has the same chair and the chairs are indistinguishable.  Also, when you are being used to set up a shot, your foldable chair might be moved.  Having your phone number on the chair may be additionally helpful if you happen to lose track of it when you’re standing in.

A Stand-In Challenge: Bring No Bag to Work!

When you bring a bag with your stuff to set, you will probably need to put it down when you are working.  This may make standing in a bit stressful for you as you worry about whether it will be moved, lost, or even stolen.

If this is you, it might be a nice challenge to see just how lightly and compactly you can travel to set.  Cargo pants or cargo shorts with their side pockets are very helpful bottoms to wear to set since you can store a number of items of use to you as a stand-in: your sides, a pen, small toiletries like a toothbrush and toothpaste, a cell phone charger, etc.  Also, a fanny pack may be discreetly worn and carry a number of items of use to you.  A light jacket with inside and outside pockets can carry a number of useful items as well.

Wearing these to set without bringing a bag may help you move about set without getting attached and better adapted to the principle of “Never settle.”

Do you have tips on finding a place to settle down?  Do you find never settling helpful when you’re on set?  How lightly do you travel to set?  How do you deal with the stress of leaving your stuff?  If you have insights, please share them below!

How to Tell if a Set Is Text-Friendly

One thing that can be said about texting on set is that not all sets are for it, but neither are all sets against it.  When you arrive on set, you really just need to feel out the relationship the particular set has with your using your mobile phone.

Some sets will seem to want to protect their stars by banning the use of mobile phones on set.  Other sets don’t seem to mind the use of mobile phones as long as you are tuned into the needs of the crew when you are standing in.  Some sets will insist that background actors not use their mobile phones on set.  Sometimes this instruction will apply only to background and not to stand-ins.  Other times it will apply to both.  Still other times it might apply to the whole crew, especially if it is a closed set involving subject matter of a delicate nature.

Texting is a silent means of communication compared to a mobile phone call, so in that respect, texting may be a more preferred means of communicating when on set.  However, the “head down, face in the phone” stance that comes with texting often renders a person more of a set piece than a human being, so it may not be preferred at all when crew are trying to move and work around you.

When you arrive to set for the first time, start with a policy of abstaining from texting or using it only when you are away from set.  If you see established stand-ins texting on their mobile devices, that may be a cue that the set is relatively text-friendly and may not be hostile to your texting.  However, just because an established stand-in is texting does not mean that the set is permissive of the behavior.  Spend time feeling out the set before becoming comfortable texting when working.  In general, avoid texting when the DP or camera department is using you.

Text Abbreviations

It might be said that given the precarious relationship sets have with texting, speed in communication aids the stand-in who texts.  Particular abbreviations can serve that need.  Oftentimes individual stand-ins will develop their own code.  Here are types of codes that I’ve used when communicating via text as a stand-in, and some examples of their use.

si

I use “si” for the terms “stand-in” and “standing in.”  For example, I might text “r u si tom?,” meaning “Are you standing in tomorrow?”

Star Initials

I tend to abbreviate stars’ names.  For example, if I were standing in for Jason Bateman, I might text “im si 4 jb tom.”  Usually there is enough context that would suggest to whom “jb” referred.  If not, I would spell out the star’s name, then in future texts use the abbreviation.

Show Initials

I tend to abbreviate shows’ names as well, though I find that I sometimes capitalize the shows to distinguish them.  So, you might find me texting either of these messages: “whos si 4 bl on gg tom?” or “whos si 4 bl on GG tom?”  Both would mean “Who’s standing in for Blake Lively on Gossip Girl tomorrow?”  Again, usually there is enough context that would suggest to what “gg” referred, and where there’s not enough context, I spell out the show’s name.

bg

The initials “bg” simply stand for “background,” as in “background actor.”  I might say “im bgsi today,” meaning I’m both working background and standing in today.

These are some abbreviations you might see in text messages to enable quick texting.  What abbreviations do you use when you text on set?  Reply below!

I ran into Tim Wilson on set recently.  Tim is one of the most proactive stand-ins I know.  He books stand-in work in uncommon ways.

Given the interest readers of Stand-In Central have had in landing stand-in work, Tim agreed to an interview on being proactive in booking stand-in work.  Enjoy!

- The Editor

Tim Wilson

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

TW: My name is Tim Wilson and I’m an actor who works primarily as a stand-in on film and TV projects.

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

TW: I’ve stood-in for Sean Penn on the upcoming Fair Game, Philip Seymour Hoffman on Doubt, Linus Roache for his first season on Law & Order, John Hurt in An Englishman in New York, and was a utility stand-in on the upcoming HBO series Boardwalk Empire. That show’s cast consisted of 90% Caucasian men so there was always someone who I’d be relatively right to stand in for!

SIC: You are very proactive in booking stand-in work.  How do you learn about productions coming to town?

TW: Aaaah, being proactive in this business is a tricky one to negotiate. There’s a fine line between “being proactive” and “overreaching,” and as a result ending up as an irritant to ADs and casting as they’re prepping for production.

I hear about projects coming in mostly by keeping my ears open on sets. Standing in is the best way to gather info because you’re usually standing or sitting in some position on set, with the crew is buzzing all around you, and a lot of time they’re talking about other jobs!

If I’m fortunate enough to be on a job for a fair period of time, I will ask crew I’m friendly with if they’re hopping onto something else, and most of the time they’ll tell me. When I first hear of a project, I go to the Internet Movie Database and often they have listed the actors who are attached to each individual project. And you can often see who the ADs will be, too. Also the DP, which is important, because it certainly helps if you’ve worked for them before.

I also get tips about projects by receiving an email every day containing the main stories on Variety. They often announce projects along with particular actors attached.

SIC: When you find out the actors in a production, how do you find out if you might be a good stand-in for them?

TW: I have a pretty good feel for who I’m right for. I would never go after a job standing in for an actor with an olive complexion; it’s always for someone with a relatively fair complexion.  I’ve done an informal polling of DPs through the years and they often say the thing they most care about when matching a stand-in with an actor is coloring and body type. Height is important, too, but not as much as coloring and body type, according to them.

When I learn about a certain actor who will be doing a project, I often go to a website called CelebHeights.com. It is fantastic. It lists their “official height” but then there are all these posts by people–some who claim to know each actor–who often refute it! A lot of times actors on IMDb have their heights listed as 5′10″ or 5′11″, and then I go on CelebHeights.com and find out that might not necessarily be true.  I heavily rely on this site because I’m 5′9″ and have found out the hard way that actors are often not exactly perfectly truthful about their height–or maybe it’s just their agents!

As for body type, that’s a bit more flexible. On Doubt for Philip Seymour Hoffman, it was wintertime and I simply wore layers to convey bulk–Hoffman weighed significantly more than I did. The DP eventually told me I didn’t need to put on layers but I was happy to keep on doing so because it was always cold wherever we shot! Some people thought I was an odd choice for Philip Seymour Hoffman but my coloring was very, very similar to his, and for this particular DP it was all about the lighting.

SIC: What about age?  Does the stand-in’s age need to approximate the actor’s?

TW: Sometimes it’s important to be in the same age range as the actor you want to stand in for. I wouldn’t submit myself to stand in for anyone in the 20-30 year old age range, for instance. Sometimes the DP doesn’t care, but oftentimes they do.

SIC: When you realize you’d be a good stand-in for an actor in a production, what methods do you use to try to land the job?

TW: When I realize I’d be a good stand-in for a particular actor, I try to find out where the production office is and then I send a headshot and résumé there. If I’m able to find out who the 2nd AD is, then I send it to them, care of that particular office.

And then I just wait. There is nothing more I can do unless I want to badger casting.  I’ve only done that once because I was particularly comfortable doing that with someone I’ve worked with for many years. And I knew in my gut I was the one for that particular job!

SIC: For you, which crew members are most key in determining who stands in for an actor?

TW: The crew members most key in determining who stands in for an actor, in my experience, are the DP and the 1st AD. Very rarely have I been interviewed and approved or rejected by the actual director.

The 2nd AD is the usual liaison between casting and the actual set. They are the ones who can get you through the door, along with casting.  But the ultimate decision seems to be the DP and 1st AD. Although in one case I was actually chosen by the gaffer!

Tim Wilson

SIC: How do you promote yourself as a stand-in as opposed to a background actor?

TW: Promoting myself as a stand-in as opposed to a background actor is vastly different because with the former I’m trying to find how I might fit into a production then use my experience wisely once I get there. I like to think I’m highly reliable in both cases, but as a stand-in I’m particularly relied upon to always be close, be there, keep my mouth shut, and keep my eyes and ears open. Of course as a stand-in I’m treated as more of an individual, which I often prefer over background in spades. But I’m not just treated as an individual: I’m an individual working on a team. I thoroughly enjoy working on a team, especially a cohesive one.

SIC: Do you have any exciting stories of how you’ve landed a stand-in gig?

TW: One that stands out for me is how I landed the Sean Penn stand-in job on Fair Game.

I was very much aware of the real life person Sean Penn would be playing: Ambassador Joseph Wilson.  No relation, by the way! I watched Mr. Wilson for months and months in his appearances on TV political talk shows when he was defending his wife Valerie who’d been outed as a CIA operative by the Bush administration during the Iraq War. I knew how Mr. Penn would look in the role because I knew what Wilson looked like himself. He had salt and pepper hair brushed straight back off his forehead.

I showed up for the interview with my salt and pepper hair brushed back, wearing my nicest suit. I was studied intently by the gaffer for the movie and quickly approved. The other two guys up for the gig obviously weren’t aware of what Penn would look like as Wilson because they all came in jeans and T shirts, looking scruffy.  So my “intuitive homework” paid off.

It later turned out that not only was I the exact same height as Mr. Penn, but we were also the exact same sizes for everything, so I ended up photo-doubling for him, too. And I just recently found out I was only born 2 days later than Penn: He was born on August 17, 1960, and I was born on August 19, 1960!

I particularly enjoyed the moment when Ambassador Joseph Wilson himself walked on set, shook my hand and said, “You’re the other fake me!”

SIC: What things do you see other stand-ins do that jeopardize their getting future stand-in gigs?

TW: Something which stands out for me over the many years I’ve been working  is when stand-ins make it alarmingly clear they aren’t team players. On one movie a stand-in refused to help out the ADs by doing background work for an emergency cross. He might as well have stuck his nose up in the air when he replied to the AD, “I don’t do background.” The guy screwed himself out of a further 7 weeks of work for one of the leads. Bad mistake. Bad attitude.

We’re supposed to be on a team. And we’re there to help out those PAs and ADs and help make their day not as crappy as it could be. Word gets around. This particular guy disappeared off the face of the earth stand-in-wise, by the way.

SIC: What is your main advice to the person looking to book regular work as a stand-in?

TW: My main advice to someone looking to book regular work as a stand-in is to be quiet and to be aware. Be aware that these people working on sets are doing a high-pressure job.

Frankly, experience is important in landing major stand-in gigs.  Nobody should expect to stand in for a lead on something unless the person is an uncanny ringer for the actor and can somehow convey reliability to such an extent that an AD is willing to take a chance on the person for a big job.

Someone walked up to me once and asked how I ended up working so much as a stand-in. I told him my short answer: I got to know ADs over the years and that sometimes they even request me for jobs. This guy walked straight over to the 1st AD, introduced himself and told her he’d like to do stand-in work. Thank God she was one of the nicest ADs that ever walked the earth because she didn’t lose it and get him sent home. And I remember thanking God he didn’t turn to me, point to me and tell her that I told him to introduce himself to her!

That, by the way, is not the way to land stand-in work. Just be on set as much as possible and prove yourself in some way to the PAs and ADs. Hopefully they’ll notice you and give you a chance. That seems the way to go. It’s worked for me fine.

SIC: This is just great, Tim!  Thanks a ton!

TW: Thank you!

Types of Clothing to Bring

In general, crew members dress casually on set. For tops and bottoms, tank tops and t-shirts are acceptable, as are jeans, leggings, and other kinds of pants. Skirts are acceptable, too, but keep in mind that you may encounter blocking situations that require you to sit cross-legged, sit on the floor, or lie in bed.

Studios are usually on the colder side, and when you are on location, it’s hard to predict what temperatures will be like.  For these reasons, it’s a good idea to have layers with you. Light zip-up sweatshirts and cardigans are usually good because they are versatile and easily added or removed with changes in weather or location.  You can also wear a thin pair of socks with heels on set in colder months.

If you are not sure if you will be given color cover, you should generally wear neutral-colored tops to set.  Blacks and grays are your best bet, and avoid bright white because of its impact on lighting.

Color Cover and Your Own Clothes

Color cover is designed to “cover” your own clothes with colors and/or fabrics that closely match the clothing that the actress will be wearing in the scene. For females, color cover could be anything from a draped scarf, to a tight or loose fitting top, to a full dress. You should take this into consideration when deciding what to wear to set each day.

A tank top or a short-sleeved t-shirt is a good base to start with. If you are given color cover that is sleeveless, the actress is probably wearing something similar, and you will see her arms. Sometimes you may be given sheer fabrics for color cover.  A neutral tank top or t-shirt is both ideal and appropriate to wear underneath sleeveless and sheer color cover. Lighting for skin is just as important as lighting for different colors and fabrics.

For dresses, it is acceptable to wear your jeans or leggings underneath, even if it is a shorter dress. You may feel that you look silly, but the crew understands that you are wearing color cover and they are used to seeing it around set.

Also be aware that you may be given color cover that is too small for you to wear. This is also something normal around sets and is nothing to be embarrassed about. For a top that is too small, you can drape it around your shoulders so it is still covering you as much as possible. For a small dress, just zip it up as much as you can.

Tips for Wearing High Heels

Most stand-ins are booked to match the height of the actress when she is barefoot. However, the actress could be wearing heels in certain scenes. You should bring heels and flat shoes to set when booked to stand in. Flats, sneakers, or boots are fine for flat shoes. For heels, it is best to wear closed-toed heels for safety reasons. Avoid flip-flops and other sandals because of safety rules on set.

It can be difficult and painful to wear heels all day, so keep in mind what kind of heels to bring. A standard 3″ heel is usually a good height. Platform heels may be a good option because they can offer your foot more support than a regular heel. Your heels don’t have to be anything fancy. You can buy an inexpensive pair that is comfortable and that you won’t mind wearing out.

Sara’s Tip!
Heel caps are a great accessory to have for your heels. They are 1″ rubber protectors that fit over the heel of most standard high heels. They protect your heels from damage and help to silence the sound your high heel makes when walking on a hard surface. Heel caps are ideal for sets because you need to be quiet when walking around.

Heels caps can be purchased online from http://www.thesolemates.com, or at any Ricky’s store in New York City.

Do you have additional tips for selecting stand-in attire?  If so, share your tips below!