Strictly Background (2007)

Partying with Drew Barrymore one day and chasing Tom Cruise the next, an extra's work is never done in Jason Connell's award-winning documentary.



Director: Jason Connell

Whether the shoot requires a man who can operate a forklift, a young man who plays a violin, a Caucasian grandmother who smokes, or a professional manicurist, chances are an extra can be found among the 45,000 active background actors currently living in the Los Angeles area.

With no questions asked as more than 1,000 new extras sign up every week, it seems as though in this economic climate, it’s easier to get work on a major Hollywood production than it is to get a job at McDonald’s, as one of the professionals featured in documentarian Jason Connell’s award-winning festival favorite Strictly Background notes.

However, despite this, we learn that most new registrants quit within the first year and others who’ve been involved in hundreds of films begin to weigh the pros and cons of forking over the nearly fifteen hundred dollar entry fee to join the Screen Actor’s Guild. While the guild leads to more respectability and a larger payday, unfortunately as one interviewee explains, it also caused 80% of their work to dry up as the guild mandates a relatively small number of their employees on any given production, as opposed to the cheap “non-union” extras who make as little as fifty dollars a day and can be hired by the hundreds.

Although most of us wouldn’t imagine voluntarily going through the endless hassles encountered by the ten endearing background actors that former extra and filmmaker Jason Connell follows around over the course of Strictly Background, it seems these folks wouldn't have it any other way. Throughout Background, their passion and sheer love of filmmaking — especially embodied via the hustle and bustle of a busy set as well as the production process itself — is incredibly inspiring to those who are fascinated by the cinematic medium, whether they're "Connell's extras" or viewers of the DVD.

Whether they’re rummaging through racks of clothing at thrift stores collecting odd ties, shirts, and ensembles by the hundreds to fit any given period or character they may be called upon to play or wearing their fingers to the bone dialing casting hotline numbers to see when another new production is scheduled, the ten professionals in Connell’s film are all unique.

In industry terms, one could say they each have a memorably "distinctive look" ranging from high end, non-speaking background work for Marvin Rouillard as he dances alongside Angelina Jolie and Brad Pitt in Mr. and Mrs. Smith or plays a priest in Wedding Crashers, or as Cecilia Hartfeld gets a smile from Jack Nicholson while playing a regal party guest of Greg Kinnear’s in As Good as It Gets. Then there are those memorable “characters” that seem to specialize in certain types of films such as Mark Nobel having a drink a few stools away from Billy Bob Thornton’s Bad Santa, Cary Mizobe playing one of several drunk Mongolians checking out Drew Barrymore at the beginning of Charlie’s Angels: Full Throttle, or the pretty blonde Terry Bolo trying to get as much “face time” as possible with the camera even if it means stripping over the opening credits of Carrie for twenty dollars while the lonely Sissy Spacek sits alone brushing her hair.

Aside from a few who dreamed of film stardom from the time they were children, most relay stories of wanting to be a police officer or fireman. And interestingly, others held down solid, prestigious employment before deciding to give up corporate work after their kids left the nest which, according to casting agent Jeff Olan in the film, isn’t that uncommon.

Despite his admission that most extras eventually disappear over time, for some — such as the ones chronicled in Connell’s documentary — extra work has become a lifestyle and one confesses that he’ll only quit when he’s unable to make it to the set. Overwhelmingly patient and able to keep it all in perspective, like the average joes who moonlighted as Hollywood Boulevard "characters" in the Morgan Spurlock-produced Confessions of a Superhero, Connell's interviewees seem endlessly willing to put up with the prospect of having to get up three hours early to change buses and trains just on the off-chance they'll be chosen on “spec.” Ultimately realizing that whereas one month you could be given countless jobs as the next finds you struggling to make ends meet, and while at times it becomes overwhelmingly stressful (including a heartbreaking confession by one character who hit rock bottom after too many failures), overall they seem endlessly driven to their craft.

And although they’re resigned to the set’s morally questionable “extra’s holding” area for hours on end and liken the chaotic “cattle calls” to appear in large groups such as needed in battle scenes to “Nightmare City,” mostly the film’s featured performers are eager to contribute in any way to the bigger picture whether it’s pantomiming conversation, dancing in the crowd, chasing Tom Cruise in War of the Worlds, or watching a baseball game in the same crowd as The Fan’s Robert De Niro.

Considering their role as a legitimate part of acting, as Cary Mizobe astutely argues, “We’re not just… a bunch of lumps just walking around in the background all blurred out,” as frequently they must improvise background action or rely on skills required in playing a sushi chef one day and a mournful funeral attendee the next while staying in character for six hours as the latter. Despite some of the seemingly classist rules of set etiquette such as the universal understanding never to speak to or make eye contact with a celebrity unless they initiate it or the extras are directed to do so, a few have some touching stories about celebrities who showed their true colors by respecting them for the needed collaborators they are since without extras, as those in Strictly Background repeatedly state, film and television couldn’t exist.

To prove this point in a rather unique way, the deft filmmaker employs a terrific technique of playing clips from the actors’ work, sometimes either letting the scene run once without calling our attention to the extra first, or else just highlighting the extra by changing the color scheme to black and white to illustrate where they are and what an integral part they play in the finished product, especially in a powerful Shawshank Redemption prison sequence or in a memorable fight from Million Dollar Baby.

And humorously, as the film begins, Connell shows a clip from Airplane! featuring one of the actors and shows the principal lead walking down the aisle after deleting everyone from the seats of the plane. Imagine how many fewer laughs we would’ve had, had we not gotten the full reaction of the chaotic goings-on without a packed plane full of onlookers all privy to Leslie Nielsen, Julie Hagerty, and Robert Hays’ antics!

While it’s a fiercely competitive market and age discrimination does enter into the availability of jobs as the clients — especially the women — grow older and, as one male notes, filmmakers use inflatable extras to steal their jobs in crowd scenes, Connell does an admirable job of putting the previously neglected “extras in the spotlight” as the film’s tagline reads.

Recently released on DVD, the film, which has so far earned six awards including Best Documentary while being featured as an official selection at festivals across the globe, is a must-see for those who share — much like the stars of Connell’s film — a sheer passion for moviemaking and the idea of that a star can still be born in pursuit of the American dream.

With terrific music throughout the film by musician Frank Lenz, the disc includes twenty-five additional features including extra clips divided up by the cast as a group and then additional scenes with each individual cast member, offering further insight into the people we’ve grown attached to over the brief 84 minute running time. All of these ingredients add up to ensuring you'll never look at a major film the same way again, without beginning to wonder just what the lives are like for those near the edges of the frame.

Granted, one of the questions raised in the film’s publicity asks, “What would you do for three seconds of fame?” and I’m sure it’s safe to say that most of us couldn’t even begin to fathom the voluntary lifestyles of cattle calls and 4:30 a.m. alarm buzzers. However, by presenting the extras with such integrity and honesty and giving them the close-up they richly deserve, Connell has ensured that all ten are sure to live on in our hearts for much, much longer.

Hollywood Dreams

Director:
Henry Jaglom

“Mmmm, I'm a star
And the audience loves me
And I love them
And they love me for loving them
And I love them for loving me
And we love each other
And that's because none of us
Got enough love in our childhoods
And that's showbiz, kid.” – “Roxie Hart” from Chicago

In her pitch perfect screen performance as Roxie Hart in the Academy Award Winning musical Chicago, Renee Zellweger played the ultimate ingénue—the quintessential star-hungry dreamer whose ambition was equally matched with her willingness to do whatever it takes to secure her fifteen minutes of fame. While in the 1920’s era Chicago, Roxie Hart’s path led her to murder, the tireless character of a young, wide-eyed hopeful girl much too eager to see her name in lights has been a favorite in Hollywood for years. Whether it’s depicted in All About Eve or in network television’s newest crop of reality programming, the recurring premise of an ambitious talent taps directly into our celebrity driven culture of a contemporary society which seems as equally dependent on gossip as we are on gasoline.

In writer/director Henry Jaglom’s latest film, we’re presented with another aspiring star, who-- and equally fitting to the archetype-- has arrived in Hollywood from small town Mason City, Iowa known to most in Tinseltown as the setting of Broadway’s The Music Man. With an encyclopedic knowledge for classic Hollywood trivia and dialogue and not above bursting into tears at an audition or fainting on cue to gain sympathy, there is something distinctly similar to Roxie Hart embodied in actress Tanna Frederick’s portrayal of Jaglom’s heroine Margie Chizek.

While we realize that she isn’t likely to resort to murder, Margie’s delusional behavior and tendency towards mania makes her an unlikely main character with whom the audience can legitimately sympathize. Even after she’s kicked out of her latest living situation for destroying the microwave, we’re always convinced (although we’re not sure she’s deserving) that she will not only land on her feet but she just may become a star and her big break appears in the form not of a knight in shining armor but in Kaz (Zack Norman) a gay film producer walking his dog in the park. Feeling sorry for Margie, he takes her to lunch only to realize he’s been hustled but he’s so convinced that her ability to lie will translate to an innate ability to perform that he sets her up in his guest home, promising he will eventually make her a star. With her other newfound benefactor, Kaz’s partner Caesar (an excellent David Proval), Margie’s Hollywood Dreams begin to come true but soon love unexpectedly enters the mix when she begins falling for the other occupant of the guest home, Robin (Justin Kirk).

Although warned that when it comes to Robin, he’s “S.B.O.” (“Strictly Boys Only”), the two seem to naturally gravitate to one another with near magnetic force as Margie starts realizing that in modern day Hollywood where the rules have been changed, Robin may only be pretending to be gay to garner more niche work. However lying about one’s orientation may not be the worst of the secrets flying throughout as every member of Kaz’s circle seems to have enough baggage to crash a jet plane.

While Robin’s storyline seems to be the most fascinating one in Jaglom’s overcrowded screenplay, especially when played to such charismatic heights by the impressive Justin Kirk, far too much time is spent fixating on Margie, who, much like Roxie Hart is fascinating enough to ensure interest for fifteen minutes of fame but ultimately not worthy of building an entire production around, despite the daring tenacity and fierce determination brought to the role by the fearless Frederick.

To Die For

Director:
Gus Van Sant

Nicole Kidman not only earned a Golden Globe for her fierce portrayal of Suzanne Stone Maretto in Gus Van Sant’s masterpiece To Die For but she also became an internationally respected actress stepping out from the shadow of then-husband Tom Cruise to announce that like Suzanne, she's ready to be taken seriously. Although to misquote Don Henley, unlike the film's flash-in-the-pan bubbleheaded blonde Suzanne, Nicole Kidman’s success was fully justified as she proved repeatedly in her impressive roles following To Die For.

Inspired by true events and based on the satirical novel by Joyce Maynard that was adapted into a wicked script by Buck Henry, the overly ambitious Suzanne, who feels that people are nobody unless they’re on TV, decides to do everything in her power to make her "newswoman" dream a reality. She marries the hunky drummer Larry Maretto (Matt Dillon) and changes him from bad-boy to breadwinner in order to position herself for the lifestyle she feels she deserves as she strives to become a journalist.

Feeling overwhelmed by her loving husband who desperately wants to start a family, Suzanne launches headfirst into her career by fast-talking small local channel head Wayne Knight into letting her work for him. Happy in her new position, Suzanne becomes the station’s golden haired, glamorous weathergirl and begins work on a documentary about issues surrounding teenagers at a local high school. Quickly, she befriends the unhappy, unconfident Lydia Mertz (a heartbreaking Alison Folland), amoral criminal in training Russell Hines (Casey Affleck) and the adoring Jimmy Emmett (an impossibly young Joaquin Phoenix) whose hopeless crush on Suzanne is used as currency by the devious diva when they embark on an affair.

Seeing her family conscious husband as an obstacle to success, Suzanne crafts a horrifying plan for her teenage pals to dispatch the narrow-minded Larry to further her goals. However, to again quote Don Henley’s "Dirty Laundry" (which was used in the memorable trailers for the film), the media loves to “kick ‘em when they’re up, [and] kick ‘em when they’re down.” For as we see in the opening moments of the film, her equally narrow-minded belief that nobody will catch on to what was behind Larry’s murder will be her downfall, even without focusing on whether or not the media driven masses will see fit to sentence Suzanne or set her free.

One of the most provocative films of the 1990’s made all the more timely given the O.J. Simpson trial, To Die For not only paved the way for Kidman and Phoenix to move onto a wider range of memorable roles. Even more importantly as IMDb noted, it also led to Van Sant’s biggest hit to date after To Die For wrapped and young Casey Affleck handed his director a copy of the screenplay his brother Ben had worked on with his good friend Matt Damon, which would earn the two writers an Academy Award for their little film called Good Will Hunting.

The Last Shot

Director:
Jeff Nathanson

After his beloved but depressed dog kills herself by intentionally launching into his hot tub paws first, FBI Agent Joe Devine (Alec Baldwin) becomes even more dedicated to his work bringing down the mob in the 1980’s after the Castellano hit made headlines around the globe. Hatching a radical plan to bring down crooked gangster Tommy Sanz (Monk’s Tony Shalhoub) and also ensnare John Gotti, Devine goes undercover as a movie producer in this comedic action film based on a true story by Catch Me If You Can screenwriter and first time director Jeff Nathanson.

Finding the key to becoming a fake player by impersonating high powered and slightly off her rocker Hollywood mover and shaker Joan Cusack, Devine hears script pitches from a public bench on the street from passersby until he finds the one he decides he’ll “produce.”

He greenlights the screenplay of Grauman’s Chinese Theatre employee Steven Schats (Matthew Broderick) who, tired of living above a noisy dog kennel to the stars with his high strung actress girlfriend Valerie (Calista Flockhart) jumps at Devine’s offer to work on his labor of love script Arizona which he’d penned with old west re-enactor Marshal (Tim Blake Nelson). Steven seems like Devine's ideal choice as a newbie who’s green enough to compromise his artistic vision and go along with Devine’s decision to relocate the shoot from the desert to Providence, Rhode Island which he dubs the "Arizona of the east."

Once in Providence, Joe and Steven are shocked to learn that seductive A-list actress Emily French (Toni Collette) wants a part in their film and soon they are well on their to beginning production, as Devine’s real FBI assignment starts getting lost in the shuffle.

“The True Story of the Greatest Movie Never Made,” as the tagline dubbed it, Nathanson’s Last Shot was based on Steve Fishman’s article “What’s Wrong With This Picture?” which further researched revealed documented a real sting operation to infiltrate Boston mob teamsters via beginning a fake production on a film with an aspiring director who never knew what was going on. The real director of the first sting, George Moffly, sadly, according to IMDb has yet to direct a film although he’s been involved with the filmmaking process on other pictures in various capacities.

Despite the ingenious set-up, it seems nearly impossible for the final product to give The Last Shot the justice it deserves since Nathanson’s script is always changing tone from drama to comedy (similar to his Terminal script) and there are far too many characters to keep straight. However, this being said, it’s an entertaining behind-the-scenes time-waster that's sure to amuse movie buffs.

Confessions of a Superhero

Director: Matthew Ogens


It’s a bird, it’s a plane… it’s an ordinary man dressed as Superman?
No, it’s not Halloween, in documentary filmmaker Matthew Ogens’ Confessions of a Superhero, every day it’s a costume party for a surprising number of individuals who work the Hollywood Walk of Fame sidewalk outside Groumann’s Chinese Theatre and, dressed as their favorite film characters, take pictures with tourists for tips.

Is this legal and how is it different from ordinary panhandling?
The honorary mayor wants them thrown out and Graumann’s has set up a sign informing passersby that they are not affiliated with these “characters” who the chamber of tourism say are "Ambassadors of Hollywood Boulevard" and while occasionally a few get arrested for aggressive begging or solicitation, most follow the set rules. To explain, there are legal rules that state that the characters aren’t allowed to name dollar amounts, solicit photos, can’t demand a tip nor make contact first with tourists for the purpose of a transaction and then there are the unwritten code of conduct rules that some of the characters try to live by such as the boulevard’s unofficial leader Superman (real name: Christopher Dennis) who tries to show a newbie the ropes by explaining that, although they can smoke in private, they maintain an image as superheroes and can’t smoke in public. It’s a convincing and honorable argument that is somewhat diminished by the arrival of an aggressive female fan who seems to have a groupie-like Superman fetish who asks a friend to help her pose for a photo with Dennis before groping him without a word and passing him along an unknown amount of money.

Just what is it that makes the four individuals (Superman, Hulk, Batman, Wonder Woman) decide to go through this strange ritual of hairspray, costuming, and characterization everyday?
Well, aside from the money which has them raking in hundreds on a particularly good afternoon, it’s the same reason everyone goes to Hollywood which is the prospect of possible fame and fortune. Not only are they selling themselves to the public but as a city official notes early in the documentary, they’re also trying to sell themselves to producers, directors, and any other people walking by who may be ready to offer them their big break. It seems like an unlikely way to attract any serious consideration from someone in the industry and while some definitely stare at the characters as if they were freaks and a few try to suggest that Batman and Superman should fight, stranger things have happened in Hollywood and the four keep pounding the pavement.

An official selection at the 2007 South By Southwest Film Festival, Confessions of a Superhero which has been presented on DVD by Morgan Spurlock (Super Size Me), takes what could very well have been a campy or laughable treatment of its subjects by creating an honest, straightforward look at the lives of the individuals as we try and ascertain just what makes them do what they do each day. In the process we uncover some deep melancholy truths and difficult pasts but are constantly reminded of the filmmaker’s respect and humanity for the subjects by refusing to cut things in a ridiculous way and just let it play out naturally.

Along with Christopher Dennis, who is the son of the Oscar winning actress Sandy Dennis who lives in a shrine to all things Superman and dates a Ph.D psychology student, we meet Jennifer Gerht’s Wonder Woman a.k.a. the beautiful homecoming queen who loathed high school and graduated early only to flee her small town and head for Los Angeles in the hopes of a better future and the Hulk’s Joseph McQueen who was homeless for a few years and is searching for his big break. Perhaps the film’s most fascinating and mysterious figure is the troubled George Clooney look-alike Maxwell Allen who in between working as Batman on the boulevard suffers from a tendency towards rage that’s balanced by his loving relationship with his disabled wife who likes telling others she’s not only married to Batman, but also to someone who looks like Clooney.

Far more compelling than one would expect given the sort of strange curiosity it solicits in viewers from the start, Confessions of a Superhero is a bold documentary sure to entertain and spark good discussion on the nature of celebrity, pop culture, and Hollywood and the best part is that we don’t have to snap a photo or get ready to tip a stranger to enjoy it. In other words, that’s leaping several obstacles in a single bound.