An 'Extra' Blog Post - Part I
Over the summer, on the set of one of Germany's most lavish (and expensive) shows currently in production, I got to identify legal issues which might arise when background actors from Germany seek out similar work in the US, by working as an extra myself.
Having been cast in this production for two roles—a nun and a passerby—in early July I went for a Schnelltest and costume fitting. Berlin's middle class didn't have very extreme style in 1931, so while both costumes consisted of multiple layers, luckily they were fairly comfortable. The day was planned for 2 hours at a flat rate of 20€, but ended up at just under three, providing 10€ more for the incomplete third hour. And because I also ended up receiving a haircut that, at about 4 cm, was deemed "substantial," I got an additional 20€ adjustment (and finger waves too).
I was scheduled to be on the set for one day, a Tuesday, and the inquiry for the shoot was adamant that we be available for the whole day. Alas, the week before shooting, a mishap on an S-Bahn platform left me with a broken toe. But as long as the toe was taped securely in place, I was cleared for all usual activities, so on the day of the shoot, I left my apartment shortly after 5:30 AM to arrive at the set in Potsdam by 7:30.
The passerby scenes being filmed first meant I had to wear the non-nun, less comfortable pair of shoes, which for my poor toe wasn't ideal. Still I managed to walk the same routes, first through "Mitte" then "Wedding," take after take, until during one break a production assistant told me that they would not be shooting the nun role that day and could I come back tomorrow. Having cleared my schedule and with toe problems, I wasn't keen to repeat the experience two days in a row, but apparently this role was important since there were only two nuns and I'd already had a costume fitted. So we arranged that I would leave early that day if I could return the next, and after being fed a substantial lunch, I changed and left. I later learned that that day's shoot was not finished until about 9 PM.
The next day I left home even earlier—at 4:30—for a call time of 6:30. On arrival it was slightly irritating to find out they'd shoot the nun scene in the afternoon, yet they'd called me for the morning, meaning that the nun role wasn't so indispensable after all, and the early-morning schlep and lost time at work wasn't so especially necessary. Sigh. But in any event, I got a new pair of shoes which the on-set cobbler was able to widen to accommodate my swollen toe. I was also asked if I'd like to ride a bike. The correct answer to this question is always yes, so I ended up having fun and getting a valuable place to sit and rest my foot besides.
Thus proceeded another morning of repeated takes navigating the same Weimar-era streets, nodding to the same people, signaling the same turns, dodging the same old-timey Fords. It was remarkable how the staff managed to position all of us to maximize the flow of movement.
After another lunch (vegetarian-friendly both days), I cleared it with the necessary staff to leave again. After bringing up my pre-clearance, this went smoothly, but I'm curious how the process would have gone if someone had to leave unexpectedly.
Still, fair treatment was standard. Plenty of staff made the rounds offering to bring water. Snacks and lunch were provided, and the weather was hot for a Berlin winter wardrobe, but cooling pads were available. I was paid every step of the way—96€ per day for shooting, adjustments of 20€ each for contributions like a haircut and COVID test, even transportation costs—and within 30 days the payment had landed in my bank account. Maybe this is just my American cynicism, but in general the conditions were quite humane.
The legal issues that might await German or EU nationals seeking similar work in the U.S. is something I will discuss in my next post.