STRICTLY ON BACKGROUND, PT. 61: ODDS & ENDS

 As of this writing, I find myself in a work slump, having gotten only two background gigs since the end of the strikes. It was concerning, until looking over my work spreadsheet. After returning to work following my covid vaccination, I worked only seven times in 2021. But the following year was my busiest ever; perhaps I'm on the same trajectory. Or MAYBE IT IS ALL OVER FOR ME!!! Until I find out for sure, here are some that range from Is that him? to Nah, I don't see him at all.

KILLERS OF THE FLOWER MOON: February 19, 2022, Cardinal Hayes High School for Boys, Bronx, NY. I had been booked to be part of a 1930s radio audience for a project titled Grey Horse. That was good enough, seeing that I love doing period pieces. But when learning it was the code name for Killers of the Flower Moon -- that was a thrill and a nine-tenths. We spent two days shooting at the auditorium of the school, which was Martin Scorsese's alma mater. 

We were actually on set only about an hour the first day, and three hours the next. Scorsese directed the "radio actors" and, when it was time for our reaction shots, left us in the hands of his assistant. But we saw enough of him in action both times to feel like we were part of the cool crowd. As for where I am -- see the grey-haired woman in the middle of the shot in the front row? Go three rows directly behind her. I've enlarged it for your oohing and aahing pleasure.

MR. & MRS. SMITH: June 7, 2022, Tompkins Square Park, first episode of the series. These are my own clothes, and one of the rare times I got wear sunglasses. When we returned the following Monday to shoot other angles, they gave me a different wardrobe. It was for naught; this was my only on-camera appearance on the episode. And the entire season, come to think of it. Guess I made quite the impression!

MAESTRO: July 7, 2022, Carnegie Hall. Another period scene, this time 1943. We were watching Bradley Cooper as Leonard Bernstein conducting the New York Symphony for the first time. Cooper not only looked like Bernstein, he, rather than the A.D., did most of the talking to us. He was clear in his direction, and effusive in his thanks, helping to make this one of my favorite gigs ever.  It's too bad you really don't have a chance to see how authentic we all looked. It comes as no shock I was able to find myself; I'm circled in red. Let me save you the trouble of saying it: Pathetic. (I worked on another Maestro theater scene, which took place 1947, but almost nothing of it made the final cut -- but I looked for me!) 

THE GIRLS ON THE BUS: October 6, 2022, Briarcliff Manor, NY. Through the
magic of television, I was an Iowa caucus goer at a Westchester County school gym. I was in four shots, but posted the only one where I'm easy to see. If you watch this episode, look for me in and outside the gym. Or you can just enjoy the show. Yes, that might be the better choice.

THE FBI: January 8, 2023, Fidelity Triangle, Brooklyn. My first post-strike gig, as an attendee of a park dedication. But since this is The FBI, there's also an attempted murder by a terrorist. It was good to get back to work, even if it was chilly with occasional drizzle and a round of sleet. I got to show off my acting "skills" when reacting to gunfire, but audiences were denied my moment of drama in the final cut. Just a coincidence, I'm sure. All they saw of me was at the beginning of the scene (on the rear left), and a crane shot of my scalp (not here, though). And I even wore a suit and tie for the occasion! Total time from arrival to departure: 6:00 a.m. to 12:15 p.m -- my kind of workday.

BLUE BLOODS: January 24, 2024, Brooklyn Masonic Temple. My second (and, so
far, last) post-strike gig. My fifth time on Blue Bloods, and first in seven years to the month where Tom Selleck was present. It's a meeting of cops and a representative of the Teamsters. In the first shot, I'm in the first row, right side, second from the left, head turned to the woman sitting next to me.

When it came time to shoot the reverse angle, some of us were shuttled to the other side of the room. I can now be seen in the third row, peeking over Selleck's head. The scene doesn't last more than four minutes, but we were on the set at least 90 minutes. It was long enough to know that even at age 79, Selleck could still kick my ass. 

                                                                      *****************