DOING BACKGROUND WORK, WHILE NOT THE DREAM JOB FOR AN ACTOR, SOMETIMES CAN BE A DREAM COME TRUE.
I don't usually discuss working as an extra, doing background, being the moving furniture, or just the blur that gives atmosphere to a scene in the project.
But most recently I've gotten the chance to be background, an extra, and probably most likely the blur in a few frames of Steven Spielberg's latest motion picture. St. James Place, which happens to star a relatively unknown actor called Tom Hanks.
And all I can say is, is wow. Talk about a great experience. I mean if you have to do background work, what better way to spend the hours, watching, learning, and performing as requested, by one of the greatest directors who has ever lived, and my personal favorite.
Having gotten the chance to work on a number of projects headed by names such as Mel Brooks, Woody Allen and Martin Scorsese, sometimes one might think that I would be jaded by now, I mean, its only Steven Spielberg! But seeing the greats do what they do best, is the best reason to work on anything in my book. Of course its also the project, be it programs like Sex and the City, Monk, Law & Order, original, CI, & SVU, films like Birdman, Spiderman 2, The Amazing Spiderman 2, Elf, The Stepford Wives (remake), The Producers (Musical) and Mona Lisa Smiles just to name a few, all have had moments that were worth just working background. Seeing talent be it infront of, or behind the camera has always made this crazy dream of mine, even at its lowest ebb, worth all the aggravation of waking up at 2am for a 5am call time.
Getting the chance to see Steven Spielberg work, surrounded by his posse of Oscar winning brethren, watching how everything runs perfectly smooth and with a purpose. Even the way that the PA's treat the lowly non-unions… a total class act. Seeing in person how this astonishingly gifted film maker works, showcases how and why he keeps producing if not the best and most entertaining films in the world at least on a par with them.
Growing up and discovering his work, even before he was a household name, there was always something very special about him. From his Night Gallery episode with Joan Crawford, to Duel with Dennis Weaver, to Jaws, to Close Encounters, to ET, to Shindler's List, to Empire of The Sun, to A.I. and the other 20 or so films he's directed. I've admired and enjoyed them all… mostly with at least a few tears involved. The man knows his craft. And witnessing him up close has always been one of my dreams.
In 1987, while living in Los Angeles, I was honored to get an interview at Amblin with Ed Verreaux, the famed Production Designer and storyboard artist on many a great motion picture. I was there to showcase my illustrations. During the interview I was privileged to get a tour of the offices. Lets just say, seeing E.T.s' mother ship is one memory I will never forget. Getting a glimpse of the Production Designs for Empire of the Sun was to me like witnessing The Sistine Chapel. At one point, Mr. Verreaux said "That if Steven shows up we'd have to end the interview early." When I asked "Steven who?" He said "Steven Spielberg!" My response was well, totally me, "You mean you call him Steven?"
He smiled at me and said "Yes!" I was a lot younger then… Sadly, the interview wasn't interrupted. And I didn't get the chance to meet the man himself. But a few days later, Ed Verreaux let me know that he had showed Steven Spielberg my art and he especially liked my E.T. painting.
I must admit that during the four days I spent working on St. James Place, The thought of somehow reminding him of that time, almost 30 years ago, when he was shown my illustrations, and actually supposedly liked them... crossed my mind practically everytime I was in earshot of his voice. Each time he walked within 10 feet of where I was placed, I wanted to whip out the original art and go… remember me. Alas, the rendezvous never happened. I'll just have to keep that to myself, and to the people who discover my little blog.
Neil
