STRICTLY ON BACKGROUND, PT. 44: "HIT & RUN"

Usually, it's just a few weeks between the time I work on a series and when it airs. For the Israeli-produced Hit & Run, it was a matter of years -- just short of two, to be precise.

Not only had 22 months elapsed, but it had filmed under two different names, Iguana and Hollyhock. Over time, neither of these titles appeared in any Google search, so I had given up hope of seeing it.

That is, until recently receiving a heads-up from Netflix about "a new series for you" entitled Hit & Run, where I immediately recognized both the logline and lead actor. My wife and I were hooked after the first episode. If I were to be seen, it would have to be  the old-fashioned way -- watching, rather than fast-forwarding through, every episode.

So long was the interval between filming (October 21, 2019) and streaming that I had to consult my Background spreadsheet and Google Timeline map to remember who I played and where I worked. 

As you can see by the map, our locations were the Times Square theater district (morning) and Hell's Kitchen (afternoon). Since this was a low-budget production with no lunch provided, I dined on my own dime at Uncle Mario's Brick Oven Pizza. (Tell 'em Kevin sent you!)

I found this interesting, so naturally I thought you would, too. This is why I have no friends.

It's a businessman! It's a pedestrian!
It's Super Background!

As for who I played, it was a two-for-one, Businessman and Pedestrian. This usually means a change of outfits, or, in this case, necktie. Because who's going to notice an extra wearing the same suit and overcoat in two scenes, haw haw!

The only scene I had remembered shooting was outside the Joan Weill Center for Dance on West 55th St. It appeared as though episode three would be feature my big moment, but it wasn't to be. We would have to be content, then, with simply watching Hit & Run for its own sake.

 

 

How I'm seen by God the cinematographer.

 Then came episode seven, where once again the exterior of the the Weill Dance Center was seen. Hit & Run's star, Lior Raz, is being chased by the NYPD. 

Despite this being a crane shot, I recognized me instantly. How sad, how desperate, how sick is that?

 

 

 

Raz hopes he's not mistaken for Louis C.K.

 Seconds later came a closer shot from the street, where I'm sneaking up behind Raz as he walks to a subway station. Ah, it was good to be on camera again! It makes me feel my life is somehow justified.

 

 

In real life, I'd have kept on walking, and prayed he
didn't follow me.

As I said earlier, I had completely forgotten that I had shot another scene in Times Square until it appeared later in the same episode. Here, Raz runs down 49th Street from the 7th Avenue station. (You can see him pass the Eugene O'Neill Theater, where The Book of Mormon was running.)

I was one of the many extras Raz rams past or into. Everyone was told to react in shock or surprise. This shot lasts only a second or two, but again my eager eyes recognized me as a hungry eagle does a helpless kitten. 

The memory of working on the scene suddenly came back to me. After filming this shot a few times, I was placed across the street for the scene where the NYPD catches up with Raz and a fight ensues. Many drivers passing by thought they were watching the real thing. This being in New York, it's no surprise.

Watching the action unfold while my character thinks,
"Hey, didn't I just see this guy on West 55th?"

About 20 minutes later, I was brought to the side of the street where the action was. We were told to stop in our tracks and watch the fight. It was pretty realistic, although I recall them laughing at least once when the director called "Cut". 

Only I would know that I was now on the east side of 49th rather than the west as I was seconds earlier in the scene. And had I been visible on the north side, it would have made even less sense. But nobody but us background notices these things.

At the time of shooting Hit & Run, I was disappointed that I didn't recognize any of the actors. Now that we're up to episode eight, it feels pretty cool to have been part of this job. It made paying for my own lunch worth it.

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