Managing cast and background — calls, holding, briefing and releases

An actor’s call time is the time of their first scene minus hair, makeup and wardrobe prep time. When the call sheet comes out the day before, send each actor or manager their call time, location and parking, and confirm they got it. On the day, show them to their dressing room when they arrive, let hair, makeup and wardrobe know, and walk them to set just before their first scene.

Put the cast dressing room close to set but out of earshot, with a mirror, lighting, chairs and water. If the shoot runs behind, give waiting actors an estimated time. Not knowing when they will be called is harder than the waiting itself. Before releasing an actor who has wrapped, check they returned wardrobe and props, and remind them of their next call.

Background is usually booked through a background casting agency, or on smaller productions through an open call or referrals. Either way, describe exactly what you want in writing, so you don’t end up re-selecting people on set.

• Shoot date, call time and place, expected wrap time
• Numbers, gender and age range, roles (passers-by, customers, staff and so on)
• Wardrobe — season, colors and patterns to avoid, no logos, a change of clothes
• Whether meals are provided, and what holding is like
• Who to look for on arrival, and their contact
• Whether minors are included, with a guardian present

• Check-in — confirm names against the roster and check contact details. Tell the ADs right away about anyone late or missing.
• Releases — explain where and how the footage will be used and collect appearance releases. Keep a list of the releases you have.
• Wardrobe and props — wardrobe checks outfits and hands out changes or props. Collect any props at the end.
• Holding area — away from set and out of earshot, with shade or heat, chairs, water, restrooms and somewhere to leave bags.
• Call and return — bring only the people needed to set, and walk them back to holding afterward.
• Wrap — log the out time, collect props and wardrobe, then let them go.

On days with a lot of background, split them into a few groups and assign someone to look after each one. Calling groups to set by name is faster and no one gets left out. When shooting the same scene across several takes or setups, ask people not to change their position or clothes, so the ADs can keep track of who stood where.

Get a guardian’s consent for minors, and keep the guardian with them during the shoot. The hours they can work, how long and their breaks are set by local laws and guidelines, so build them in from the start of scheduling. Keep their holding area separate from adults, and leave them out of scenes that are dangerous or not suitable for their age. Consider schooling and travel distance too. Schedule scenes with children early in the day, and if the day runs behind, protect the children’s scenes first.