In a recent article titled “3 Ways to Be More Successful on Set” appearing on Backstage.com, the experienced casting director Robert B. Martin, Jr., advises actors working as principal talent to “Stand in for your stand-in.”

“Instead of chilling in your trailer or hanging out at craft service,” writes Martin, “you should be on the set standing in for your stand-in.”

Martin’s advice is aimed primarily at actors without much experience working on sets. He explains that an actor can develop a better understanding of the production process by being on set and in the thick of things than dissociated from the activities before the on-camera work begins.

Stand-In Central’s Take

While Martin is careful to say that his advice comes with “a major warning” for the actor to be available for hair, makeup, wardrobe, and other production personnel, a stand-in is hired for a particular purpose and his or her job should not be subverted.

Standing in often requires long periods of time standing still, keeping focus on particular spots, and paying shrewd attention to the needs of the DP and camera crew. An experienced stand-in is attuned to the numerous voices in the blizzard of sound that often accompanies a camera setup, a skill a day-playing principal actor probably does not have.

While the actor-playing-stand-in may want to review lines or the action of the scene, the demands of a camera setup can mean that the actor’s errant behavior on his or her mark may slow down or even interfere with the camera setup. In many cases, it would be much better to have the stand-in working until the camera setup is complete.

Furthermore, should an actor do his/her own standing in, if pulled away from a hair or makeup touchup, the stand-in must step in immediately. Being repeatedly pulled out of a setup and stepping back in may needlessly stress out the stand-in working for the actor or even the assistant directors who are minding the locations of the stand-ins not to mention the progress of the production. It would probably be better for the actor to mind and respect the stand-in’s work time, and when asked for the actor to step in by production, at that time step in.

Final Thoughts

There is nothing wrong about learning more about the production process. However, contrary to what Martin says, we do not recommend an actor standing in for his/her stand-in. Instead, an actor would better learn by staying relatively close to set while a camera setup is happening and observing from afar rather than being in the thick of a setup.

Do you support our opinion, or differ from it? Share your comments below!