What exactly is a utility stand-in?  Well, glad you asked!

What a Utility Stand-In Is

Most stand-ins match their actor’s height, hair color, and skin tone.  However, some productions don’t need their stand-ins to match their actors that closely.  In fact, these same productions may just need a few stand-ins to cover the number of actors shooting that day so that production has people to light and use for camera rehearsals during setups.

These stand-ins are utility stand-ins.  If you are booked to work as a utility stand-in, take this to mean that you will probably be standing in for more than one actor.  In some cases, you might be booked as a utility stand-in for your height, since there may be a few actors working in your height range.  Other times it might simply be that you’re booked as a utility stand-in for your gender since there may be a few male or female actors working and your appearance doesn’t really matter.  In still other times, you  might simply get the job for no other reason than someone chose you or you just kept getting booked, and you stood in for whomever.

The Challenges of Working as a Utility Stand-In

While utility stand-in jobs are rarely as demanding as more dedicated stand-in jobs (because usually these jobs don’t ask as much of their stand-ins), utility stand-in jobs can sometimes be a little more difficult than dedicated stand-in jobs.

A utility stand-in will need to be familiar with more characters than just a single character or scene.  You will need to be aware of which scenes your actors are working and be ready for different ways the actors work in marking rehearsal.  You may need to be a more careful study of your actors and figure out your physical differences (like height) in case the camera department is curious in setting up the shot.  You may also need to juggle different sets of color cover.  If you are working background on top of working as a utility stand-in, then you may have your job cut out for you!

The Fun of Working as a Utility Stand-In

As a utility stand-in, you are much like the “Swiss Army knife” of stand-ins, able to fill any camera setup need.  You may also get to do wildly different things in standing in for different characters that a more dedicated stand-in might not experience.  With that, if you’re a working regularly as a utility stand-in on a particular set, you may get to meet a number of working actors as they cycle into the production.  Working as a utility stand-in keeps things interesting.

Have you had any great experiences working as a utility stand-in?  What tips do you have for stand-ins booked for utility work?  If you have comments, share below!

What “FT” Means

“FT” stands for “Fitting” on a callsheet. The actor will be coming in that day to get fit for wardrobe for upcoming scenes.

What “FT” Means for the Stand-In

A stand-in is not needed to come in for the actor’s wardrobe fitting. However, seeing on the callsheet that an actor you stand in for is coming in for a fitting will give you notice that the actor will be working on camera soon. In television, the callsheet usually lists the episode number that the actor is being fit for.

Are there any other abbreviations you see on a callsheet of which you’d like to learn the meanings? If so, comment below!

Ben Hauck is owner and editor of Stand-In Central, a web site dedicated to providing information about the job of the film and television stand-in, and a 14-year veteran of the Screen Actors Guild (now the merged union SAG-AFTRA).

In the interview, Ben talks of his experiences standing in as well as his acting career and his forthcoming book, Long-Form Improv (Allworth Press, 2012).

Check out the interview which came out Friday, April 27, 2012, by clicking here.

We’ve realized that not every visitor has time to sift through the tremendous resources available on Stand-In Central.  So, we just released The Stand-In Handbook, a downloadable ebook chock full of information culled from Stand-In Central and its weekly-updated Tips & Tricks Blog.

The Stand-In Handbook features 127 pages of guidance and instruction on standing in–from an overview of the job to what to wear to set, from tricks of the trade to ideas for being the best stand-in you can possibly be.  The ebook is organized into more than 34 short chapters for quick and easy comprehension, and it is penned by our volunteer staff and experienced stand-ins, editor Ben Hauck and frequent contributor Sara DeRosa.

The Stand-In Handbook is available in PDF format so you can read it on your computer, and with its large type, you can take The Stand-In Handbook to set to read on your Kindle or other PDF-enabled ereader.

The Stand-In Handbook is $5 and available from the Stand-In Central homepage for immediate download with a credit card or PayPal account.  Get your copy now to be ready for the job tomorrow!

Please note that within minutes after purchase a download link for the PDF will be emailed to you.  If you do not see the email, please check your spam or bulk folder.  Please read our very short Terms & Conditions before purchasing.  Downloads must be made within 2 days.

Click below to purchase The Stand-In Handbook!

An anagram is a recognized word or phrase created by rearranging and using all of the letters of another word or phrase.

After plugging in “standincentral” on the Internet Anagram Server, here are a few anagrams I found that resonate a bit with the job.

“Clad Entrants In”

Stand-ins wear clothing similar to the actors for whom they stand in, and they follow their blocking as well.  So, stand-ins are like “entrants” in that they enter scenes, and they are “clad in” what is called “color cover” to approximate what their principal actors are wearing.

“Transcend At Nil”

Many stand-ins are actors themselves, and in working as a stand-in, they hope for the coveted “upgraded to principal actor.”  Upgrades do happen to stand-ins though they are relatively uncommon.  This anagram reflects the mindset of a stand-in looking ferociously for an upgrade.  It essentially reflects a stand-in who would “stop at nothing for an upgrade.”

“Canned Star Lint”

This humorous anagram might reflect the position of a stand-in from the perspective of a cruel star actor.  The stand-in, dressed in clothing similar to the star’s, might appear to be “lint,” and in looking similar to the actor, might appear “canned.”

“Transact Lend-In”

Insofar as the stand-in is brought in to help a camera crew set up an interaction scene between actors, a less eloquent way to refer to a stand-in would be to call her a “transact lend-in.”

“Card Talents Inn”

Most stand-ins are union members.  “Card Talents Inn” might be another name for what I call “Stand-In Paradise”–the seating area usually on set set aside for stand-ins.

“Crane Land Stint”

Some scenes are shot with a camera on a crane.  In these cases, the stand-in is some kind of focal point.  When repositioning the crane, the stand-in serves as a kind of “landing point.”  A day on the job as a crane’s landing point constitutes a “crane land stint.”

Do you see any other relevant anagrams here for “standincentral”?  If so, post them below with your explanation!

Stand-ins appear from time to time in popular culture. In this entry of Stand-In Central, we look at an appearance of the stand-in in the television show Life’s Too Short.

- The Editor

In Episode 3 of the first season of 2011′s television show Life’s Too Short, Warwick Davis, a dwarf actor and owner of the agency DwarvesForHire.com, gets a call that a dwarf actor is needed for a scene opposite Helena Bonham Carter.  Passing over his own clients, Warwick selfishly takes the role and reports to set.

When he arrives in full costume dressed as Little Lord Fauntleroy, he’s shocked to find that he’s not going to be the principal actor–instead, he’s the stand-in for a little boy!

Warwick: Stand-in for a child. Yeah, kids can only work a certain number of hours on a film, so if they’re going to shoot from behind a kid’s head, they’ll often use dwarves. So it means I’m not going to be in the film. Just here so Helena Bonham Carter’s got someone to look at. Could have used any old dwarf.

Warwick is there for Helena’s close-up, and Helena has trouble acting with stand-in Warwick, whose face is comically large compared to the little boy’s and whose voice is much more masculine than the child actor’s.

Helena complains about Warwick as if he’s not three feet in front of her, then proceeds to make escalating requests in order to complete her scene, requests that deepen Warwick’s humiliation.

Below is a clip from the hilarious scene.

It is not uncommon for diminutive people to stand in for children in television and film. However, the humiliation that Warwick is subjected to in this scene is quite uncommon and for comic effect.

Do you know of other emergences of stand-ins in television shows? If so, reply below. Even better, write to Stand-In Central with a review of an episode!

And you’re clueless.  What does “RPT” mean?

What “RPT” Means

“RPT” means “Report.”  It refers to the report time for the actor or crew member.  It will usually be followed with a time.

Report time may differ from other times.  Report time usually refers to the calltime an actor or crew member is officially on the clock.  Other times listed for, say, an actor might be on-set time (when the actor is to be on set), and ready time (“RDY,” or when the actor is supposed to be through hair and makeup).  These times are going to be after the actor has reported.

“RPT” vs. “P/U”

“RPT” can also be contrasted on the callsheet from “P/U,” which means “Pick up.”  Some actors or crew members are picked up at particular times and taken to the production, while other actors and crew members simply report to production on their own.

What “RPT” Means to the Stand-In

If a stand-in needs to take a van provided by production to set, in most cases the stand-in has to be on that van before her report time.  For example, if a stand-in has a 6:30am report, that stand-in may have to catch a 5:45am van in order to reach set at her report time.

In most cases, if a stand-in is using transportation provided by production that doesn’t land on set until after the stand-in’s report time, this is not a slight against the stand-in.  However, the stand-in may want to ensure she gets on an earlier van or a van that leaves first if traveling during rush hour to ensure the stand-in has the best chance of getting on set by her report time.

If you are not sure which van to be on, clarify to the production assistant or driver who is signing people in that you are standing in today.  If you know you’re in the first scene, mention that, too.  The production assistant may make a point of getting you on the next van as opposed to a later van, and remove another crew member in order to get you on.

Do any other abbreviations on the callsheet bewilder you when you stand in?  If so, mention them below!

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

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

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

Thanks for following Stand-In Central!

Recently I came across a film titled The Stand-In in the Internet Movie Database.  I then found the film on Vimeo and gave it a watch.  Here’s my review of the 2011 short.

- The Editor

Director and co-writer Ricky Lloyd George and co-writer Doug Fischer tell the story of Todd, the hapless stand-in to movie star Humphrey Russell, in the 2011 short film The Stand-In.

The Stand-In from Ricky Lloyd George on Vimeo.

When the director Jan de Groot and Russell have an ugly fight on set, Russell storms off the set with shots still to shoot.  Russell’s stand-in Todd is called in to photo-double for Russell opposite his beautiful leading lady Rose Wynne.  As Todd is getting dressed to photo-double, he speaks with Brian, his dresser:

Todd: They don’t usually shoot the stand-in, do they?

Brian: Only when the lead actor has a hissy fit or he just got out of rehab.

As Todd’s photo-doubling work and chemistry with Rose Wynne impress the crew with each take, The Stand-In moves into stand-in fantasy territory when de Groot, so disgusted with his movie star, offers Todd the part instead.

The Stand-In is a 14-minute comedic film that a number of stand-ins would find entertaining and relatable.  The notion of being plucked from the world of standing in to replace a star is far-fetched, and this film helps to realize the dream.  The social commentary about production is also entertaining and would make a number of stand-ins snicker.

This film-within-a-film gives a romanticized portrayal of standing in for the individual interested in learning how working on a set as a stand-in can be.

Do you know of other emergences of stand-ins in film stories? If so, reply below. Even better, write to Stand-In Central with a review of a film!

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!

If you have a great angle on standing in, a fantastic stand-in story, or if your stand-in job involves special talents, email the editor at Stand-In Central and we just may interview you!

We can conduct an interview over email or in person (depending on your location).  Stand-In Central interviews are great ways to promote yourself as a stand-in and as an actor!

Here are some angles that might interest us for interviews:

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

Becoming a star’s dedicated stand-in

Landing principal work by working as a stand-in

Standing in on soap operas

Standing in on productions with live studio audiences

Standing in on productions with three or more cameras

Working as a utility stand-in

Standing in for the opposite sex

Rehearsing scenes with principal actors

Eating healthfully and keeping fit when on set

Etc.!

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

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!

When Christina Coffman was up for the position of stand-in for lead actor Jennifer Lawrence in the upcoming film The Hunger Games, she contacted Stand-In Central.

Soon after, she booked the job. The gig proved to be a wonderful experience for her. I was excited to learn that Stand-In Central influenced her as she got the hang of standing in for the first time. I was also excited to read something Christina later wrote me: “I have shown the other stand-ins Stand-In Central as well and we love it!”

My interview with Christina Coffman is below. If you’re a fan of The Hunger Games, you’re going to love it for a little bit of behind-the-scenes its star’s stand-in provides. The U.S. release of The Hunger Games is March 23rd, 2012. Check it out!

- The Editor

Christina Coffman

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

CC: Hello! My name is Christina Coffman, and I am a sophomore in college studying acting. I lived in Maryland most of my life doing community theater, but after graduating high school my family moved to South Carolina, which is where I currently reside.

SIC: You stood in for Jennifer Lawrence, who plays “Katniss” in the highly anticipated film The Hunger Games.  Was this your first time standing in on a film? Have you stood in on any films since?

CC: Yes, this was my first time standing in on a film.  Immediately after wrapping The Hunger Games I was asked to photo-double for Isabelle Fuhrman in the film The Healer but since I already had a prior obligation, I was only able to commit to working on that a short time. I hope to get back into standing in again soon, though!

SIC: How did you land your job as Jennifer Lawrence’s stand-in?

CC: I had an audition callback in Asheville, North Carolina, that lasted about five hours. Jennifer, Josh Hutcherson, and Liam Hemsworth were there, but most of the time was spent with the casting director, ADs, and the other girls they were considering. At the end we had individual interviews and I was the first one to interview.  Then they sent me home. Early the next morning I got a call saying I had the job!

SIC: Cool, Christina!  Were you also hired to photo-double?

CC: Yes! On the days that I photo-doubled, they had to spray my braid to make it darker since my hair is naturally a bit lighter than Jennifer’s. Additionally, she is a few inches taller than me so I had to constantly remind myself to stand tall. I was even able to photo-double as “District 4 Tribute Girl” one day.

SIC: Working on The Hunger Games was a demanding project. You were working in the woods of Asheville and at high elevations, too. You also shot in a cigarette factory. What kinds of demands did you face?

CC: We worked sunrise to sunset six days a week in some of the most isolated and beautiful forests of North Carolina. Base camp was often a good 10-20-minute drive back down the mountain so we had Porta-Johns closer to set but sometimes there just isn’t a chance to break away so you either wait or go behind a tree!

The Cornucopia and Reaping scenes were filmed on very hot days under the beating sun. We also had several major downpours–it amazes me how there was always a Plan B for these frequent storms. Sometimes they would put a tarp over the set, add some lights, and continue filming! Watching these scenes you wouldn’t be able to tell it was still raining a few feet away.

Christina Coffman

Not only was the weather an obstacle, but we had some encounters with bears. They were never much of a threat, though–they seemed more afraid of us then we were of them, thank goodness. Snakes were also common, so there was always a snake wrangler on set. After lunch one day at the Cornucopia I was looking for snakes with a few of the actors. We found some, picked them up, and didn’t get bit! So I guess they weren’t poisonous snakes … none of us really knew!

SIC: I wouldn’t advise toying with snakes!  But it sounds as if they were really prepared.  Could you have prepared any better for what you encountered?

CC: The main thing I could have done to prepare better for the wilderness was to wear preventive poison ivy spray. We were surrounded by poison ivy and poison oak all of the time. I never had poison ivy in my life so I assumed I was not allergic, but the last week we were in the woods I got a rash all over my calves. It is better to be safe than sorry.

The old cigarette factory was a big change after being in the woods but there wasn’t really anything I had to do to “prepare” for that.

SIC: How frequently did you work, and how did you find out about your calltimes?

CC: Katniss was in almost every scene, so I worked 81 out of the 84 days, which was generally sunup to sundown–or vice versa for the night shoots. At wrap, I would get a callsheet to know when to come in the next day.

SIC: Katniss runs and uses a bow and arrow in the film. What kinds of physical demands were asked of you as a stand-in on The Hunger Games?

CC: I didn’t have to know too much about archery other than how to hold the bow and arrow. As for running; there was a lot of that! There was also running through fiery areas, but I was only allowed so close due to the danger of it.  Jennifer and her stunt double, Renae Moneymaker, were actually trained for the fireballs’ flying inches from their face.

SIC: Was standing in on the film very different than what you expected? Very similar?

CC: I had no idea what to expect. I didn’t even fully understand my job title till the first day on set!

Everyone else was topnotch and award-winning while I had never been on a real movie set before. So I was convinced: I am going to get fired. Don’t get fired. Don’t get fired. Don’t get fired. It turned out every one was super nice. There wasn’t any of that “Hollywood snobbery” that one might expect, which was really humbling.

SIC: Looking back on your first stand-in experience, how has the experience affected you?

Christina Coffman

CC: The overall experience has affected me greatly. As an aspiring actress, I learned more on this film than any school could teach me. Shadowing Jennifer Lawrence for eighty-plus days taught me so much. She really knows what she is doing! That goes the same for Josh and all of the other actors too. The talent was incredible.

SIC: Given your experience, what kinds of advice would you give to a stand-in should she find herself standing in for a lead in a physically demanding project like this one?

CC: Be ready for anything. Be willing to do anything. Really. The directors and crew will appreciate you so much.

Having already read The Hunger Games book, I knew that my athletic abilities would come in handy. If you can know ahead of time what will be demanded physically, then you can prepare yourself. Action movies have a lot going on so be ready to run, climb, jump over logs, swim, lay in mud for an hour and who knows what else. I personally loved this stuff!

SIC: North Carolina provides subsidies for productions that shoot in the state, making it a popular location in which to shoot a film. How does a person interested in standing in in North Carolina land a stand-in job?

CC: North Carolina is indeed becoming a popular location to film. If you want to be a stand-in, I suggest you build a good rapport with a casting agency. Do extra work or anything that will stand out on your résumé! Keep in mind that being responsible, consistent, mature, and reliable is so important to ever landing a stand-in job.

SIC: Anything else?

CC: Yes!  About halfway through the shoot assistant director Aldric Porter put me on the walkie system. It turned out to be an efficient idea, especially for figuring out the blocking during far shots so we didn’t have to yell across a field. This made communication fantastic! By the end I would just know based on the rhythm of things when second team would be needed without anyone having to call it. Also, it allowed me to help out the PAs with lockups when I wasn’t needed standing in!

SIC: By the way, The Hunger Games is becoming very popular.  Would you consider yourself a fan of the story?

CC: “Fan” would be an understatement. I absolutely love it! It is brutal but so intriguing. I read the series several years before I knew a movie would be made and it immediately became my favorite. I even dressed up as Katniss for Halloween when I was seventeen–Haha!  Kind of embarrassing when I tell people now, but you can imagine how exciting it was for me to be a part of this film!

SIC: I can tell, Christina!  Thanks for sharing your story!

CC: Sure thing!

Christina Coffman lives in South Carolina.  Follow her on Twitter @christinaalc.

Probably not.

What Does “New Deal” Mean?

When the 1st AD announces “new deal,” this generally means the crew is moving on from the current setup.

There are a few things that could happen when “new deal” is called:

• A new setup in the same direction but with different camera positions
• A turnaround on the current scene
• Moving on to a new scene

Context Is Key

From what you have shot in the scene already, you will most likely be able to infer what “new deal” means when it is announced.

If the scene has only been shot in one direction, “new deal” in this case should mean that the crew will be turning around on the scene. If the scene has been completed, “new deal” should mean that the crew is moving on to start preparations to shoot the next scene.

Any other terms you’ve heard used on set that confuse you? If so, please post them below!

Stand-In Central is helping stand-ins!

Several months ago, Mark Naftal was up for a big stand-in gig for the actor Ben Stiller. He ended up on Stand-In Central and read an interview with another stand-in for Ben Stiller, Rob Tode. Mark eventually landed the gig, and after a great experience, I asked if he’d like to do an interview about what the experience was like as a first-time stand-in. What follows is his interview!

- The Editor

Mark Naftal

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

MN: My name is Mark Naftal. I live in Atlanta, Georgia, and am a 49-year-old married father of two. In the past year I have done stand-in and background for five TV shows and three feature films, the most recent being Ben Stiller’s full-time stand-in on Neighborhood Watch.

SIC: For what other actors have you stood in?

MN: I’ve only stood in for Ben Stiller, but the shoot was 62 days and I was on set as a stand-in for 57 of those days! I wanted to do stand-in as soon as I got started doing extra and background. I was waiting for the right opportunity to showcase my maturity, reliability, and skills. As it turns out, I got all I could handle with this assignment.

SIC: How did you prepare yourself for the big job?

MN: The casting people at CL Casting contacted me late August to check my interest and availability for a commitment that would run for four months. I had to agree to cut and color my hair and shave my facial hair if need be.

I was up for the role against five other people. I interviewed with the AD, 2nd AD, director of photography, and executive producer. They eliminated three candidates at that interview. The remaining candidates were invited to a screen test and costume fitting. After a full day of being run in and out of set, in front of a green screen and wearing different costumes, I was selected.

I prepared for the schedule by staying in real good physical condition, eating properly, getting good sleep, and avoiding alcohol! Fortunately I have an amazingly supportive and encouraging wife, who is responsible for my getting into this business in the first place! Because of her amazing support, I was able to commit to the schedule and feel okay about not being around the house, her, and my son for such a long time.

SIC: Kudos to her! What were some of the things you had to get used to when standing in?

MN: The timing of standing in is polar opposite than that of doing extra or background work. You work when the crew works setting up the scenes, while the actors, extra, and BG relax or stay in holding. I had to learn the timing and cues of when I would be called to set, observe and learn blocking/marking rehearsals, and learn the general flow of actions by camera, lighting, and set dressing while I did my work.

SIC: Did you make any mistakes?

MN: Of course! Watching the monitors when the scene I had set up was being shot was something I would tend to not remember. After having worked for up to an hour straight, on my feet, outside in the cold, overnight … as soon as I was excused from set, I’d use the restroom or grab a snack. Sometimes by not watching the monitors I’d miss a change in the scene … I learned real fast not to make that mistake.

The other thing that sticks out is Ben is a lefty and I am right-handed. I had to think and act lefty. Opening doors, handling a gun, etc.

SIC: Wow, I never thought about that! What were you really good at?

Mark Naftal

MN: Other than the fact I am a double for Ben physically, the ADs and producers were intent on having a professional and mature stand-in for Ben. They explained to me he is businesslike and focused on set, and his stand-in needs to be the same. He does not like his mark “warm”–meaning I needed to be off before he got to set.

I dovetailed into the rhythm of Ben and the crew by being preemptive in my understanding of when I needed to conclude and exit set, many times prompting the AD and camera crews as Ben approached. I also gravitated towards taking some responsibility for the other stand-ins, many of whom were much younger than me. I sort of became the unofficial stand-in “dad.”

SIC: Did you also photo-double for Ben?

MN: I actually did not photo-double. His stunt actor Greg Fitzpatrick did all of the photo-double work.

SIC: Atlanta is a growing market for film. How does a person interested in standing in in Atlanta land a stand-in job?

MN: The market in Atlanta is huge and growing. I heard there are 81 feature films and TV shows filming here this year.

From the first time I was on set I wanted to stand-in. I think you need to have a decent amount of set experience before you consider submitting for stand-in. I think the other elements needed are having a reputation for reliability, professionalism, and the ability to take direction. Once you have set experience and establish your reputation, you are ready to submit for stand-in, or be seriously considered for it–assuming, of course, you match the actor’s physical dimensions.

SIC: What is the deal with union versus non-union status in the film industry in Atlanta?

MN: Georgia is a right-to-work state: non-union. I am not 100% versed in the nuances of how that affects the film industry, but I understand that on top of the generous tax credits being offered by the state, local personnel hired for production are much less costly to employ than that of union.

SIC: Right. So, looking back on your first stand-in experience, how has the experience affected you?

MN: I received a first-class education on the production of a big-budget film, at least the principal photography portion. I felt so incredibly important to the production and was so proud to go to work and be a part of it. I have taken all of this as it comes–extra, BG and stand-in–but having ended my first year in the business by completing this film is more than I ever visualized. The very first extra appearance I had was not even a year ago. My confidence and enthusiasm is very high as a result of being Ben Stiller’s stand-in.

SIC: Was it very different than what you expected?

MN: I did not know what to expect. I knew it would be long, hard hours … but it was longer and harder than I had imagined! I had no idea the amount of raw effort and investment exists in the production of a film start to finish, all of the people required.

SIC: How do you expect to use your stand-in experience in your future in the industry?

MN: Naturally I want to do more and make it to the next step. In fact, I have already begun the next series of acting lessons following upon where I left a year ago. The on-set experience, flow of production, learning of crew responsibilities, and similar things will be the key experiences I take forward, which I feel will give me a better chance at success.

SIC: Anything else?

MN: I have a lot of notable memories of this experience, but one really sticks out. There was a scene we had been shooting, a six-day effort for one long scene. First thing one morning, Ben gave his okay for me to read his lines off-camera in a scene with Jonah Hill and Vince Vaughn.

I was so nervous but I did calm down … So, in the movie there will be an eight-line exchange between Jonah, Vince, and Ben where I was the focus of Jonah and Vince’s eyelines and dialogue. I will never forget it!

SIC: That sounds like a trip! Thanks a lot, Mark!

MN: Sure thing!

Mark Naftal lives with his family in Atlanta, Georgia.