SECRET OF SOAP
The secrecy of any
information regarding any shoot is practiced only on extras.
It is
understandable that no production manager, director or cast want future
story lines
costumes or scenes shared with the world on social media.
However the level
of security does not extend to the many technical, costume,
makeup or other
personal who all get a daily call sheet.
This is a document
that plans the whole day ahead saying who does what and how
each might be
contacted.
It also contains
the magic words, Estimated Wrap Time.
In the hands of
extras this document would elevate the extra who holds it to the
level of The
Oracle and whilst it would cut conversation on potential overtime,
lunch time and the
magic finish time, so popular with supporting actors, the
oracle would sit
in the bus winning all and any popularity whilst answering
questions.
The Holy Grail of
the shoot is ironically easy to obtain. Most of the techs are
only too happy to
provide a copy on request or a short detour into their area
will yield a
discarded copy. Few, however, would dare to break down the class
wall that
separates the extras from the superior crew and the Grail normally
remains hidden by
etiquette.
'Good Afternoon' I venture to a spotty little
young man with a belt with tools
hanging from it and which seems to tie his top half to his bottom half
'have you got a copy of the call
sheet'
'Sure mate' he
happily replies handing me an ear marked tatty little A4 booklet which contains the
secret of life for the day
By the time I get
to the sanctuary of the supporting actors rest/eating/waiting bus I know we will work until 10
pm, that there are only six of us, and I will be a street cleaner whilst the
action takes place on the street in front of me.
Just one scene
This is a soap and I read the script. It is not Hamlet and I wonder at the
imagination of the writer who has put together this masterpiece in pre-secondary school English?
I am the fourth of the extras to arrive and I take my place next to the young budding actress who is carefully putting her own make up on to play 'woman walking on the pavement'.
It is unlikely this will be the day that a watching casting director will discover her but I will not disillusion her with news of the role she will play.
I feel powerful over my peer group with my superior prophetic knowledge when the
fifth man ( man cutting hedge ) arrives and immediately hugs the pavement woman
as they remember the toothpaste advert they did together some weeks ago with true affection.
Conversation of what might lie ahead is made whilst tea is drunk and cakes are
eaten as we wait the late arrival of our last colleague (boy in hoody) and the
third assistant director (a posh young intern making less than us) checks him in
making a mental note to tell the casting agent he was late and condemn him to
several months of no work offered until his transgression is forgotten ) and we
are all put into a bus to be transported to a street that a location manager has
decided is more appropriate for the scene than all the other like streets.
We all stand around whilst cameras, cables and equipment are carried around us.
A table is set and a tea urn appears by magic on a table where more cakes and
sandwiches appear under cling film.
Extras may not remove the film and must wait for crew to take the first pickings before devouring what is left.
After rehearsals without the stars a Lexus pulls up and two actresses emerge from it who boy in hoody excitedly recognises (one was apparently in a film called Zombies can be Kind)
What will these mega gods (who must not speak to or even acknowledge the extras
and minor crew on their way to earning wages which will top all of theirs put
together) make of this masterpiece of a script
Three hours and eight takes later we realise that they are indeed human
with limited talent.
Then after the eighth take the director shouts 'that's a wrap' and we all buzz
to our respective transport. Extras to be the last to leave of course
I look at my watch
It is five to ten.