STRICTLY ON BACKGROUND, PT. 40: "THE PLOT AGAINST AMERICA"

Without question, the most exciting background gig I've gotten was for The Plot Against America, a miniseries based on Philip Roth's alternate history novel about the Nazi-loving Charles Lindbergh presidential administration.

Not only would this be a classy, important production, Plot also guaranteed work over five or six months of shooting -- in 1940s clothes surrounded by 1940s cars and 1940s-style sets! It was the next best thing to dying and going to heaven: living and going to HBO.

Before shooting started, I checked out the novel from the library to get a handle on what was in store. It was an exciting, terrifying read, particularly regarding how, in recreating a semi-fictional American past, Roth managed to accurately predict our current state of affairs. But I was going to wear 1940s clothes!

Something I learned when hanging out in public in a suit, overcoat, and fedora is that, compared to my colleagues and I, people today are first-rate slobs. Even the days when I was more downscale, I looked better than your average schlub now. 

The (background) character actor at work on The Plot Against America.

EPISODE 1: The first episode was also the first day of work. Although Plot takes place in Weequahic, NJ, we were at a synagogue in Jersey City, NJ, where I exchanged the fedora and overcoat for yarmulke and tallit. John Turturro, as Rabbi Bengelsdorf, was the most serious, focused actor I've been on the same set with. Even though he knew his lines by heart, he would quietly rehearse in character between set-ups. 


For the final cut, they used the take that focused on Winona Ryder, which featured actors who knew the prayers and "choreography". That wasn't me. 

Instead, I was "seen" at the end, where I had transformed into a worshiper without the religious finery. I'm way in the back on the left, holding my fedora to my chest. Is Winona Ryder looking at me fondly? Unlikely.

EPISODE 2: We were now in Englewood, NJ, shooting at a high school. Rabbi Bengelsdorf was giving a speech to the townsfolk. Because I was playing a teacher, I thought I'd be in a classroom. Instead, I was one of many people in the audiorium listening to the rabbi.

This time, I was easier to see (by my standards). I'm in the chair, on the right in the blue suit. Hey, is Winona Ryder looking at me again? Definitely not.

EPISODE 3: Did you know there was such a thing as a newsreel theater? I did, because that's the kind of totally uncool person I am. We were working in an old movie theater, watching a loop of 1940s news images, which were replaced by recreations by airtime. 

Three of the principal actors are walking up the aisle. As the camera tracked along, it caught me enraptured by whatever was on the screen. 

The A.D. asked me to put my arm on the chair next to me to hide a piece of masking tape that might have been otherwise seen. To my disappointment, I didn't receive a salary bump for my efforts.

EPISODE 4: And we're back at the theater. This time, Azhy Robertson, as Philip Levin, was by himself watching his aunt dance at the White House with Joachim von Ribbentrop -- every woman's dream waltz partner, right? 

Another tracking shot which caught me for several seconds in the scene. I'm smoking a cigarette, like a good American could do in movie theaters before the deep state interfered with our right to harm ourselves and others with our inconsiderate and dangerous behavior. My glasses weren't considered period enough, so they gave me another pair, which were of absolutely no use.

EPISODE 5: One of the two scenes from the book I really wanted to be in: Walter Winchell's presidential rally in Newark (although we filmed in Cranford, NJ). 

The whole town came out to watch us both times, although they gradually left when discovering filming a TV series is less exciting than just watching the actors show up. 

We walked the five or so blocks from the holding area to the town square where we were filming. Lots of Cranfordians were taking pictures and video of us as we approached; I happily obliged a group of teenage girls with high-fives, because I think it's important for the little people to know how much they mean to me. (NOTE TO WIFE: I'm kidding!)

Special mention must be made of Billy Carter, the actor playing Walter Winchell. I've heard plenty of impressions of Winchell over the years (he still had a column until 1969), but Carter was the first actor to sound like him without exaggerating his cadence or tenor of his voice. Making this more impressive is that he's British! From the second he ran on to the makeshift stage, threw a fist in the air, and greeted us with his familiar "Good evening Mr. & Mrs. America!", I was utterly swept up in the scene. 

We worked roughly 12-14 hours over the course of two nights. My role was "Working Class Rally Goer". The first time I'm onscreen is when Winchell is going up the small flight of stairs onto the stage. 

I'm on the right, cigarette in mouth, holding my arms up in fevered applause for my hero.

Reverse shot. On the far right once more, front row, cigarette in mouth, continuing to clap my hands raw. First night of shooting? Second? 8:00 p.m.? 1:30 a.m.? All good questions I couldn't answer to save my life.






Another reverse shot. This time on the left side, head tilted, still with my mouth wrapped around the ciggie. 

Fun fact: herbal cigarettes are used in movies and TV shows. They burn down faster than the regular kind, and smell worse. I probably went through two packs each night, never inhaling once, but my throat was sore for the next couple of days.

Final screen appearance before the homegrown brownshirts break up the rally, to the left of the woman. In the first shot, I'm looking in awe at Winchell. In the second, I'm giving a dirty look to the cops who are there not to prevent trouble but to encourage it.

Lots of stunt people in the fight scene; no actors, other than Morgan Spector, were involved. But we were all emotionally caught up as the fascists silently walked through the crowd trying to intimidate us. In one take, when one of them stood staring at me, I held the burning end of the cigarette inches from his eye, yelling something like, "Try anything with me, motherfucker, just try it!" The guy didn't blink or change his expression once. Probably because he was 40 years younger and 50 pounds heavier than me.

EPISODE 6: Remember I told you how the Winchell scene was one of two I wanted to work on? His funeral was the other. And I got it! But I never made the final cut. 

Nor did I in another segment of this episode, as one of the workers cleaning up after the New Jersey pogrom. Just being on that block was the closest I ever wanted to be to pure hatred.




The latter was filmed in Jersey City, where HBO transformed a few blocks to an incredibly authentic early 1940s look. I worked there on another scene on that block for the first episode (right), but if I was onscreen, I didn't see me. I was also MIA in at least two more scenes: the block party, and a in a barber shop.

I had a feeling that the Winchell rally scene would be my last day working on The Plot Against America, and I was correct. All told, my entire time working on it was just 10 days over five months; I could have done it every week for that whole time, and it wouldn't have been enough. Note to producers: any time you need someone to go back in time, I am so available.




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