Saturday, August 9, 2008

The Stand-In


The workflow, for any given scene on any given show, goes something like this: everybody gathers around while the "first team" (the actors) read through the scene and the director works out the "blocking" (i.e., their movement and the camera's movement) for the scene (which usually is broken down in to many shots).

The first team is then excused to the care of the makeup and costume departments, and the "second team," the stand-ins, are called to replace the actors. Stand-ins are hired to approximate the look of the actors (size, shape, hair color), so that the lighting and camera team can prepare the shot and be ready to go when the "first team" is called back to the set.

Children work in Hollywood under strict labor laws -- the hours of their work days are sharply limited, and they have to complete a certain number of hours of "school" with a company tutor, each day. Thus the company looks for strategies to work around them as much as possible -- one of those strategies is to hire "little people" -- adults who are small in stature -- to stand in for the kids.

Here Kevin Thompson stands in for Erik Per Andersen (Dewey) on "Malcolm In the Middle." Erik was seven when the show commenced and when Kevin was hired; this shot was taken in season seven, when Erik was 14, and had outgrown his double -- thus Kevin would stand on a box, as you see here, or wore special shoes with hugely elevated soles.

Speed


The feature film "Speed" was another grueling affair -- shooting in the fall of 2003, once things got busy the Set Dressing gang worked seven days a week, sixteen hours a day, every day from November first through December 23. Again, the money was good, but it was what we called 'blood money.' My kids were asleep every morning when I left at 4:30am, and were asleep when I got home that night.


One of my jobs on the show was to oversee the dressing of ten different buses to match one another. Each bus had a specific function -- what you see here was one of the buses used to shoot interiors of the bus, thus the complex lighting rig. This one was called "the pope mobile," for the big plexiglass box on the front that held the camera crew for shots straight down the aisle. The driving controls of the bus were re-routed, so Sandy Bullock could sit at the wheel. In the second "interiors" bus, the stunt driver's controls (the actual "live" driver's seat) was on the roof.