“Yes, extras must meet a threshold level of professionalism; they must show up on time and do what they’re told; they must own a variety of clothing items (most bring their own wardrobe). But there are thousands of them, capable of showing up on time and walking when they’re supposed to walk. It’s unskilled labor for skilled people.” Hillel Aron reports on the life of Hollywood’s background actors—extras, as they’ll always be called no matter how much they prefer the former term—and how the many real gains made by unionizing and joining in with SAG have led to a two-tiered system: those who can make a serious living from essentially part-time work, and everybody else, hustling for the leftovers. Via Longform.
UCLA’s Bunche Center for African American Studies has released their second Hollywood Diversity Report, with the far from startling conclusions that a gleamingly homogenous set of people behind the cameras (film studio units overseen by 96% white and 61% male heads; studios themselves headed by a clique 94% white and 100% male) hasn’t led to much breakthrough in diversity filmed by them. Austin Siegemund-Broka offers a rundown; the report itself, by Drs. Darnell Hunt and Ana-Christina Ramón, is available as a .pdf.
“Welles wasn’t moved. He told Selsman that ‘[saying the financiers will balk] is like saying the world is round. Of course, backers do not reduce the conditions under which they promise money. You certainly know as well as I do that in these cases—which occur all the time—it is the producer and the packager who must make the sacrifice.’ He characterized Selsman’s response as ‘mistaken tactically and morally.’ He also claimed Selsman was avoiding him. ‘It seems very clear that Oja and I have continued to work hard entirely on a speculative basis… this cooperative spirit has not been met from your end.’” In a two-part article, Matthew Asprey Gear details the behind-the-scenes drama of Sirhan Sirhan, an Executive Action-style political thriller/exposé that was being rushed to production in 1975 when co-star Orson Welles took the reins and revised the script in his own image. Some of the players still insist on laying blame at Welles’s feet, citing his undeserved reputation for scuttling his own projects; but despite the arrogance of some of Welles’s demands, Gear’s firm that responsibility lies with a series of half-honored promises and handshake deals that likely would have collapsed even without the Great Man’s imperious presence. (Part II here.)