Three cameras are used simultaneously and the show is taped in sequence, just like a one-act play. There's no stopping to change camera setups (that's why they use three), and breaks occur only when actors move from set to set. Made a mistake? Keep going unless it's drastic.
Like a play, rehearsals start with a read-through, with the cast seated at a table, and proceed to blocking and business. The rehearsal period is usually four days, followed by taping on the fifth. On the day or night of performance, you'll probably do the entire show twice, in front of two different audiences.
With the exception of the re-writes that constantly come up, stage actors love this. It's as close to doing a one-act play as you can get without actually doing one. Directors work more with you and the audience adds to that ole theatre feeling. Also, the level of your performance is close to that of a comedy or musical done in a small or medium-sized theatre.
SOAP OPERA
These, too, are three-camera shows, but they're usually rehearsed in the morning and shot in the afternoon of the same day. Short of summer stock, there's no better training ground for learning lines, business, and delivery of a believable performance in a short period of time. "Soap operas are one of the best ways to learn your craft," says producer William Kayden. "They're marvelous training."
Once again, even though there's no audience, you only stop to move from set to set. The standard rule is: keep going. And the acting level is extremely understated. The audience should feel as though they're observing you in your living room through a keyhole. That's why one producer cautions: "Soaps are wonderful training because you are forced to very quickly make transitions, build up to a certain emotional result, etc. But, I don't think, if you possibly can avoid it, that you should stay on a soap too long because there is the danger of becoming too facile."
THE WE-HATE-TO-MENTION-IT DEPARTMENT
We wish we could promise you a grand ole time on every set, but, if the truth be known, there will be times you'll think you walked into a scene out of Dante's Inferno - and, if you're not careful, you could get burnt.
Understand first of all that a caste system does exist on a set - unspoken, but there in spades. At the bottom of the heap are the extras; at the top, the stars. Extras are served last at lunch. Day players would be wise not to sit in the star's chair. Stars get the best dressing rooms; other actors get smaller but still private rooms; extras of the same sex dress in one room together. "I've worked on sets where a principal comes up and we'll start talking," says one SAG actor who also does extra work, "And as soon as they find out I'm an extra there's a whole change in attitude. And they make you feel kind of. . . really crummy. And it's not just them - it's everybody." You'll see plenty of top dog/underdog manifestations of human behavior, and you'd be smart to take note of how much of it is taking place on any given set.
On some sets, this behavior is kept to a minimum, with everyone sharing in a joyful, generous camaraderie. On others, it's best to keep to yourself and not try to become "one of the boys," as you'll be at grave risk of being humiliated.
If your spouse joins you on location (there's usually no objection), be circumspect about inviting your sweetie to the set itself. On a good set, visitors are treated with the utmost respect and charm. On a bad set, they're made to feel like they just walked in on a very private conversation.
Even on a good set, be discreet. Don't run up to the star to introduce yourself or - great holy amateur night! - to ask for an autograph. Have the second A.D. introduce you at the right time. Don't even start a conversation with a star; let him take the lead.
Sound like Chicken Little? Two stories:
On one set, a veteran actor (a you-know-his-face-but-not-his-name type) sat next to a major star. Silence. Hours of it. Finally, the actor turned to the star and ventured, "Hi, I'm ____ I just can't sit next to someone and not talk to them." The star slowly turned to the actor and replied, I can.
A highly-talented actress got a part on a show when the star was having a contract dispute with the producer. At the start of rehearsal the actress said her first line, and immediately, the star threw up his hands, saying, Tm not going to work with such an incompetent actress!" and he walked off the set. Naturally, her stomach knotted up as tight as a fist. Fortunately, the director knew her and took the time to tell her not to worry, the star was just using her as an excuse not to work.
Using her.
"I think there ought to be a class at every institution about temperamentalism," says theatrical agent Joel Rudnick. "I call it 'star-ids.' It's an occupational disease that people get that can exist on the star level and on the amateur level. And it's important to know about it for two reasons: first, to know how to work with people like that, and second to know how to deal with it when it happens to you."
We're not saying that your on-set experiences need be bad. Just be on your guard. As producer Michael Rhodes jokingly put it, "You already know you have to be crazy to be in this business, so, on the set, treat everybody as if they're potential ax murderers, and you'll be all right."
WRAP
If you're working the next day, the second A.D. will hand you your "call sheet." If you're not working the next day, but are still on salary, next to your name will be the word "Hold."
When you're ready to leave the set, the second A.D. will ask you to sign out. Note carefully the arrival and departure times he has recorded. This is what they will base any overtime on. Be sure the times are accurate and in ink.
Don't expect anyone to come rushing up to you telling you how wonderful you were, especially not the producer or director. They may have loved your work, but right now their minds are on the next scene.
Then you're on your way back to your hotel, or home. You won't be very good company that night. You'll feel as though you've just come back from another world - and you have.
