Joseph L. Cooke's and Ted Nolan's novel, Moving Iron

This review was quickly assembled in repsonse to requests to get it online sooner rather than later. I wish I had better things to say about the Dell tablet. I'll give the ST some more time and then do a Part II.
PS: Just received word from Dell they will offering training on how to use the ST for only $2880. Wow, such a deal, but still beyond Channel 70 Productions training budget for the week.

Update: 1/14/2012 I'd forgotten this tablet has two cameras. Nowhere (that I could easily discover anyhow) was any information on how to use the cameras. I finally found something by right clicking 'computer' and then locating 'device manager. Using a dropdown, I saw cameras and 'opened' that. On the program that opened, the camera on the back of the tablet began working. On the right side of the screen a circular arrow appeared. Clicking on the arrow activated the screen-side camera.

Own the action/thriller Ten Ring today: http://www.amazon.com/Ten-Ring-Joseph-L-Cooke/dp/1608445011/ref=sr_1_1?ie=UTF8&s=books&qid=1271275764&sr=1-1

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I'm in the process of doing research for my next action/adventure novel and its plot includes an action scene occurring during the filming of a major motion picture. I don't want any factual errors in my book and decided to look at movie making firsthand.

I answered nearly a hundred casting calls for extras before being selected. I suppose there is not much of a demand for over-60 males and was happy to have finally made the cut.

After hours of searching the web, I couldn't find much on the nuts and bolts nitty gritty, of what to expect of a day's work as a movie extra (technically, you are 'background', 'background actor', or 'background player'). I wanted this info ahead of time so I wouldn't do something dumb or embarrassing. I'd emailed/messaged a number of extras I'd identified on Facebook and on other online venues asking about the specifics of the job and the pay, and not one person replied. I remain perplexed as to why. I later learned you'd have to go out of your way to commit a major error while on a movie set. I shouldn't have been concerned. The movie makers are completely experienced in dealing with newbies and are ahead of the curve for nearly every eventuality.

Two days prior to my movie debut, I received an email from the production company's costume/wardrobe people telling me what to wear and to bring extra changes of clothing so I'd look like different people in different scenes. I was told to utilize thermal underwear since it was going to be cold outside in the near freezing weather, but the storyline was set in the Fall and we had to dress for the Fall. No white or black clothing please, as cameras don't like those colors. I was also informed I was to be a Gawker/Onlooker. Later, this was refined to being an Outer Onlooker. There would also be Inner and Middle Onlookers. These movie people have this all down to a fine science.

The email made a huge deal of being able to prove your identity and that you could legally work in the US. American passports were preferred. There was a number to call to get my 'call time' or when I was to show up. I called and learned I had to arrive at 5:45AM. I've since learned even earlier call times are not uncommon. Someone said the idea is to have everything and everyone completely and totally ready by the time there was enough light to film.

On the big day I arrived 45 minutes early in 39 degree temperatures and a hard, driving, rain. It was miserable carrying a thirty pound duffel in the dark and in the hammering downpour. Despite the early hour, big box trucks were already being unloaded by dozens of crew members and equipment was being set up for the day's filming. After an on-foot minor navigational error costing me another quarter mile in the rain, I found the check-in/holding tent for 'background'.

The walled, warm, (a propane powered heating tower was blasting out BTU's in one corner) big tent, erected in the center of a large parking lot, held many dozens of tables and chairs, several well lighted make-up stations, and, an area that would serve as a breakfast buffet.

I entered the shelter of the tent and met one of the many PA's on the project (Production Assistants; they do a little bit of everything and probably have the toughest and lowest paid (except for extras) jobs in movie making). After a sincere and pleasant greeting, the PA checked off my name on his list, handed me a Central Casting voucher (pay form), and told me to have a seat at the Gawker/Onlooker tables and to fill out the voucher. There were also assigned seats and tables for extras with roles as TV news cameramen, paparazzi, government agents, drivers, reporters, and others I can't recall. The PA also said I shouldn't move around and that someone from costumes/wardrobe would be around to check out what I'd worn and had brought along. He also pointed out a row of 8 or 10 porta-johns near the tent. I hate those things. If I'd been one of the extras assigned to wear a costume (mostly law enforcement uniforms) I'd have been sent to an adjacent wardrobe/props tent. There, you have to temporarily give up your drivers license in exchange for the day's costumes/props.

The somewhat dark tent began filling with other extras and then the breakfast caterers began to set up. Then, the heater quit working and nobody could fix it. Next, the rain fell even harder and the tent began to leak and our pay forms began to smear. Following that, rainwater flowed across the tent's floor. That was followed by half of the lights going out. According to an HVAC app in someone's smart phone, the temperature in the tent dropped to 40 degrees within minutes.The scores of people now crowding the tent took it all in stride. Wow. In most other venues, everyone would be whining like eight year olds.

I quickly learned extras were a friendly, helpful, smart, and outgoing, group of people. Many had worked together on other movies and TV shows. We talked and talked and talked. About what? Movie making, of course.

One of many surprising bits of information I picked up that day is how many extras lose money on each project. One woman flew around the US chasing background jobs because she enjoyed the work. You don't do that on extras' pay. About half the people I talked to during the course of what turned out to be a 14 hour day, lost money (after paying for gas, hotels, lost time at their day jobs, parking, etc.) being an extra. An informal poll indicated 30% were there because it was interesting and something to do. Some were there for the money. Others were in the performing arts (singers, voice over actors, band members) and believed the experience would benefit them. The majority really wanted to be onscreen and further their careers by working this 'gig' and maybe being 'discovered'.

I was informed, after telling the other extras I was new to all of this, the pay was minimum wage, the food would probably be good, the hours long, to be quiet on the set, do whatever the last crew member told me to do, and to never, never, cross the line. (an invisible border of what the camera is capturing and what it isn't) In other words, don't wander into a scene where you're not supposed to be. Later, I learned the PA's keep that issue pretty much under control.

Things took an upturn when the caterers (craft services/crafty) announced breakfast was ready. (all food on the set is free) It was quite a spread; made to order omelets, bacon, eggs, etc., etc. That hot meal was most welcomed by yours truly.

Somewhere near 9AM, some nice people from costume/wardrobe began checking everyone's clothing. I passed muster, thanks to the detailed info provided to me in the email two day's previous. The wardrobe inspection was closely followed by staffers checking our pay forms, ID info, and I-9 paperwork. I never did need the extra clothing I'd brought along.

Half an hour later, vans arrived in military precision and began delivering us to the set. I was jazzed and didn't even notice the cold any more. Five minutes later we arrived on the set; a blocked off city street fronting several modern, five story office buildings and a courtyard. Movie equipment and props were everywhere and a legion of crew members were hard at work at their specialties. We had been permitted to bring heavy outer garments from the holding area if we promised to take them off and then hide them behind light poles, trees, curbs, etc. before the filming of each scene began.

The first shot for us was to be in a crowd scene and we were to welcome the arrival of a politician. PA's placed us, sometimes by grabbing our shoulders and walking us to our #1 (first position). Despite having the assignment of being an Outer Onlooker, I was told by a PA, who obviously knew how to spot talent, to move from the back of the pack of extras and to stand right behind a steel street barricade that was front row for watching the scene's action and for the camera to watch me. How cool is that?

I then watched as one of the PA's, a short woman with bright red hair and wearing Desert Storm combat boots, fleece filled pants and jacket, and a Mongolian warrior's cap, positioned two extras to act as a TV reporter and cameraman. A woman from Props handed an old Sony ENG (electronic news gathering) Beta cam to the male extra and a mic to a blonde 'reporter' who really looked the part. The camera was missing its shoulder mount piece and three bolts very uncomfortably dug into the extra's shoulder. Somebody came up with a wad of tape to act as a cushion. Later the shoulder mount arrived and the set up looked realistic. There was a moment of confusion at the prop woman and PA attempted to plug the mic into the big camera. I saw that the mic cable was terminated in a female XLR connector and then saw two male XLR connectors on the rear of the Sony and pointed out the fact. That earned a nice smile from the PA. I hadn't felt so useful in days. And, on a film production set.

Next came a pause while one of the three camera teams made adjustments on the big Arri machines.

It was during this pause I had the chance to take in the entire panorama of the set and attempted to determine the function of each component in view. Then, I saw it. A set of 50 ft flag poles flew the US and local standards and the Washington DC flag was upside down. Since we weren't in Washington DC, nobody caught the error. Should I, a lowly Gawker/ Outer Onlooker background actor extra, dare say anything to anyone so high up the movie making food chain as a Second AD or someone? We'd been told to keep our yaps shut. It was then the First AD walked by and figuring he wasn't big enough to beat me up or have the authority to ship me off to Adak, Alaska, I pointed to the flag, quietly saying it was upside down. He looked me over once or twice and got on one of the three, two way radios strapped to his waist and ordered the change. Afterward, he nodded his thanks. I can only hope the Set Designer is still among the living.

After rehearsing the scene, a single take did the trick. The First AD returned to where I was standing and I was wordlessly promoted on the spot from Gawker/Outer Onlooker to both a Strolling Walker and Meandering Walker. Oh, boy! Hollywood, here I come. I immediately began practicing, "I would like to thank......" while wondering which tux would look best on me during the Red Carpet glam cam session on Oscar night.

It turned out there was an elite (what else could they be since I was now one of them) crowd of extras acting as Walkers. PA's placed some of us, sometimes by grabbing our shoulders and planting us in the correct position, at points along a sidewalk. Some of us, me included, were stockpiled at either end of the sidewalk just outside of the 'frame' (what the camera saw) and then dispatched at the right moment with a tap on the back by a PA. One PA was kind enough to place gaffers' tape (sort of like masking tape, but comes in many colors) on the pavement or sidewalk for those needing a bit more assistance with their acting assignment. "Do not look at the camera as you walk." was the primary instruction. We practiced three or four times, always returning to our #1. The process of returning and getting ready again is called a 're-set'. PA's used small point and shoot digital cameras to take snapshots so there would be 'continuity' (a big deal in movie making) from one scene to another in the final product. After the practice walking, the scene featuring the real actors, not stand-in extras, was in our background. Ha! The scene was shot three times. (re-takes) This was the drill for the next couple of hours.

During scenes where there was no walking and during pauses, I talked to idle PA's, gaffers (if the task required physical strength, gaffers did it), camera operators, sound men, a 'juicer' (someone who installs lighting equipment), the still photographer, props handler, and, others whose titles elude me. The trick was not interfere with their work. Without exception, each was kind enough to give the 'how, what, and why' to this eager novice.

As I watched the day's work unfold, I was impressed by the expertise and focus of the entire production crew. Everyone seemed to know their job and each performed it enthusiastically with all of their energy directed toward making the project successful. Since humans were involved, I'm sure there were plenty of egos and agendas in play, but to this outsider, those were far below the surface of anything I observed. 'Please' and 'thank you' were the most frequently used words I heard. I'd never seen anything like it in all of my years in both the public and private sectors.

Lunch time arrived and we were transported by the fleet of vans back to the holding area where 'crafty' had set up a terrific lunch buffet. A few of the extras were moved to the front of the line because they had to prepare for a scene scheduled for right after lunch. We had the choice of trout, chicken, and very tasty pork steaks, as well as salads, sides, some of the best rolls I've ever eaten (and, with real butter!), deserts, and many drink selections. I had the lemonade. We weren't making much money, but we sure were fed well.

It was a longish lunch hour that turned out to be closer to 90 minutes. It felt good to sit down. Some of us slept, some caught up on the web with smartphones, and others went back to the buffet line for seconds and thirds. I found a chair and chatted with several of my fellow background actor extras. A few of us exchanged email addresses and phone numbers. Later, the vans returned and took us back to the set.

There was none of the slowly revving back up to speed after lunch one sees in most businesses. The movie production machine was operating at full throttle the moment we stepped back onto the set.

The afternoon was devoted to the stars doing an action bit as the extras scattered after hearing an explosion. One crew member told me the average 'cut' was around nine seconds long when on the big screen or TV. The crowd-scattering scene, to include the stars doing something in the foreground, would be on screen for nearly forty seconds with no cuts. This was a big deal to both the actors and crew.

Fifteen of us were selected to be positioned in such a manner so the stars would weave amongst us. The main camera would zoom and be focused tightly upon us for several seconds and we would definitely be recognizable in the scene if it was included in the final version of the production. Double hello Hollywood. Under the watchful eyes of the First AD and a squad of PA's, we rehearsed the shot once and then went on to do six takes. Finally, the director liked what he saw and called, "Check the gate" and then, "Good gate!". That means all is well. During the days of film rather than digital media, the phrase had a different meaning, but the effect on the actors and crew is the same. Google it.

By this time, the sun was well on its way to the horizon and we thought it would soon be time to go home. All of the running and 'scattering' had worn out many of the extras. The director had other plans. The shot list apparently called for medium and close-up shots of the panicked crowd. So, rather than being up and close with the stars of the production, I became part of the running/scattering/panicked crowd. After ten takes in the growing darkness, the director called it a day.

The fleet of vans reappeared. I just happened to be in the spot where the first van pulled to a stop. I was about to climb aboard when I was politely, but firmly, informed that van was reserved for the 'first team'. I stood aside as the stars entered the Econoline van, my inventory of movie lingo having just increased by one.

It was dark by the time I reached the holding area. Once there, I stood in line to have my voucher checked and collected. That done, I drove away looking forward to a steak, shower, and a soft bed. It was 8PM.

Most of the extras would return to the holding area at 5:45 the next morning and begin the process all over again. A smaller number would work on an interior set the following day where the hours would be even longer. No pesky sun for the director and DP to worry about. The crew works even longer hours than the extras do. I don't know how they do it, but glad they endure.

To everyone I met, please let me say thanks for a day of wonderful education and enjoyment.

Cut and print.

note: this entry was purposely vague as to location and other specifics in accordance with my employment agreement as the production is not yet public

Panicked scrambling, Take 6

Own the action/thriller Ten Ring today: http://www.amazon.com/Ten-Ring-Joseph-L-Cooke/dp/1608445011/ref=sr_1_1?ie=UTF8&s=books&qid=1271275764&sr=1-1