Putting stand-in work on one’s acting résumé can be a controversial topic.  While on one hand it may promote to casting directors that you are knowledgeable of working on sets and with people in production, on another hand it may promote that you do background work, which may be a conflict of professional interest.

For actors with short résumés, stand-in credits can add needed strength to the acting résumé.  For actors with extensive résumés, stand-in credits can clutter or make confusing a résumé.  For actors with mixed résumés, stand-in credits may or may not help the résumé.

So what do you tend to do?  In our first Stand-In Central Poll, we’re asking if you put your stand-in credits on your acting résumé.  Of course, you might use more than one résumé, depending on the casting director or submission, so we’ve included an option in case you’re like that.  Cast your vote below, and check out the results, too!

Do you have any particular guidance on putting your stand-in work on your acting résumé? If so, comment below!

An Opening Precaution

Avoid being certain about future days of stand-in work.  While a callsheet may indicate your actor is working, production may be using a different stand-in those days.  Also, weather or other factors may change the production schedule.  If you have a close relationship with the background casting director, consult casting for guidance on production’s use of you as a stand-in for your actor.  If you are a regular stand-in on the project, you are in a better position to ask than, say, a background actor who was pulled to stand in that day.

Predicting Stand-In Work  for Yourself … in the Future!

If you’re expecting to be standing in for #3 (Ben Hauck!) over the next few days of production, the callsheet may have the Advance Schedule listed.

The Advance Schedule section shows the scheduled scenes for the next 1-2 days.  This may appear at the bottom of a the callsheet, on the second page of the sides packet, or at the end of the sides packet.  Sometimes the Advance Schedule may even be omitted from the sides packet, meaning the actual callsheet would be the source for the Advance Schedule.  The background PA should have the actual callsheet, and this person is probably the best person to ask if you want to see the actual callsheet.

Along with the scheduled scenes, the Advanced Schedule lists the actors/characters involved.  Knowing that your actor is working on an future day will help you get a sense of whether you’ll be working, and seeing how many scenes your actor is in may aid in your predicting your relative calltime and the length of your day.

However, take note: Advance schedules often change, especially as weather affects production, so keep that in mind when predicting your work schedule.

Is Your Actor Completely Wrapped?

Another way to predict future stand-in work is to look at the Actor/Character section under the column “SWF” (or named something similar).  This section indicates your actor’s current and remaining involvement with the particular production (or particular episode of production).  Here are deciphered the codes from that column:

• W = Work … Your actor is working on the project today.
• SW = Start Work … Your actor is starting work on the project today
• WF = Work Finish … Your actor is finishing work on the project today
• SWF = Start Work Finish … Your actor is a day-player; that is, your actor is starting work today and finishing work today.
• H = Hold … Your actor is on hold for the day and won’t be on set.

If your actor is listed as SW or just W, this indicates that your actor will have future work on the project, which may mean future stand-in work for you.  However, if your actor is listed as SWF or WF, this indicates that your actor’s last day on the project (or episode) will be today.

How do you figure out if you’re standing in later in the week?  What other callsheet clues do you know for predicting future stand-in work?  Share below!

Dear Stand-In Central,

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

- Kat

Hi Kat!

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

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

- The Editor

Response from Sara DeRosa:

Sara DeRosa

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

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

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

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

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

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

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

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

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

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

Response from Ben Hauck:

Ben Hauck

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

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

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

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

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

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

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

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

Women & Hairstyle

For women, the style or length of your hair compared to the actress isn’t always a major factor. You can have longer hair and get booked to stand in for someone with shorter hair and vice versa.  In my experience, I have found that films have stricter hair requirements for stand-ins than television projects.

Whatever the project, it’s important to be honest about how your hair currently looks. If you have recently changed your color, added highlights, or gotten a significant haircut, you should inform the casting director of this when you get called to stand in. If you don’t have professional pictures of you with your new hairstyle, you can take a candid digital photo to have ready to send out upon request.

Changing Your Hair for the Job

For particular jobs, you may be required to change your hair to match the actor you are standing in for. You will usually see this detailed in the casting notice, and the casting director should be able to give you more information about how the actress’s hair will be styled.

If the casting director didn’t mention that you should be willing to change your hair, then most likely it is not required. If it is required, you would be asked to cut and/or color your hair after chosen for the job, not for the interview.

Making the Decision to Change Your Hairstyle

Changing your hair for stand-in work can be a big decision. If you’re an actor, you have headshots that reflect your current image, and you will have to figure out how to work around that issue if your image changes.

If you are thinking about changing your hair for a stand-in job, here are some things to consider:

• How many days of work will this job give you?

When you get called for consideration for stand-in work, the casting director should be able to tell you how many days you would be working on the project.  A major character could work anywhere from 10 days to 40 or more days on a film. If you would only be working on the project for a shorter term, it may not be worth it to you to change your hair.

• Does it make sense financially to change your hair?

Find out if you would be responsible for covering the cost of changing your hair. A cut and color can be expensive for women, and it could be more expensive in the long run if you decide to change it back to your previous style. You can ask if there is someone in the hair department who would be willing to do it for you. This would save you money, and their stylists would know best about how your hair should look to match the principal actress.

• Will you have to cut your hair?

Figure out how much of a cut you would be comfortable with. Trimming your hair a few inches is a minor change, but a much shorter cut or bangs can change your look a lot, and it would take longer to grow back out to your previous style.

• Will you have to change the color?

Once you change your hair color more than a few shades, it’s not easy to change it back. It could take several appointments to gradually change your hair shade-by-shade to get it back to your previous color. It can also be damaging to the overall health of your hair.

• Are you willing to get new headshots taken?

If your look changes dramatically, you may need to consider taking new headshots to represent your new look. Even if you want to change back to your previous style, you may need a new picture to represent you while your hair is transitioning.

Finally: Ask Questions!

There can be a lot to think about when deciding to change your hair for stand-in work. Don’t be afraid to ask questions if you need more details about how you would have to change it. You need to feel comfortable and confident that you are making the right decision. Good luck!

Do you have any comments about changing your hair for stand-in work? Please share below!

On some jobs, you are hired as a background actor then “pulled” to stand in. Many people’s first time standing in is via this method. Casting may have given you advance notice that “you may be pulled to stand in,” and when you arrive to set, the background PA confirms whether you’re standing in that day. Usually this means a pay bump for you as a background actor up to stand-in rate, but it also means additional responsibilities for you for that day of work.  Sometimes it means you just stand in that day and don’t do background, but that’s not usually the case.

On other jobs, you are hired as a stand-in but are expected to do double-duty as a background actor. In these cases, it is often the case that you are a “core” background actor in the production. For example, if the show is a hospital drama, in addition to being a stand-in, you also may be a core doctor or nurse.  In the scenes in which you’re standing in, you may also be doing background work.  As for pay, you are usually just paid as a stand-in, meaning you tend to work a bit harder when you’re a stand-in who is also a background actor.  In this kind of gig, one of the challenges is that it can be hard to know what your principal actor changes in the blocking because you are busy working during the takes.  From my experience, production is usually sympathetic to this kind of situation so they won’t typically give you a hard time if you miss a change in blocking.

On still other jobs, you are hired exclusively as a stand-in, but on rare occasion you are asked to do background work in an extenuating production situation. There may be not enough background actors; there may be a sudden hole in the background that needs to be filled; there may be a needed camera cross; etc.  While these occasions are relatively rare for someone hired exclusively as a stand-in, they are generally part of the job description for a stand-in.  That is, in general, doing occasional background work is part of the stand-in’s job.

That a stand-in can also be used as a background actor can put the stand-in-who’s-also-a-working-actor in a real bind.  Although I stand in frequentliy, I regard myself as an actor first.  Recently I had a great audition for the casting director of a TV show on which I do stand-in work. A day or so later, standing in on that set, I was told I may be used in the background for a scene because a background actor didn’t show. I suddenly had a conflict of interest!  I told the background PA about my recent audition for the casting director that went well, and that if he could hide me should he use me, that would be ideal.  The background PA sounded thrilled I’d had the audition and even accommodating of my request.  Although I was never used in the background that day, I can’t expect all production people would be as accommodating in this kind of situation.

Audition or no, it is helpful to think of how a day of stand-in work may lead to background work, and that this aspect of standing in may conflict with future opportunities you may have for doing principal work on a production.  It would probably be wise to think of background work as “a risk of standing in.”  That is, when you take a stand-in job, you take responsibility for the possibility you could end up doing background work in that production and interfere with your future opportunities for roles on that production.

Do you have any thoughts on doing background work as a stand-in?  Do you have an interesting arrangement with a production?  If so, please share!