Hollywood Extra Extra

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The untold tale of bit players, doubles, Central Casting, and extras in American film

A comprehensive handbook that helps you get started in the entertainment industry. It includes how to join the unions and avoid the scams, legitimate casting companies, photo and resume tips, how to get started as an extra, how to get your kids started, and tips on finding principal work.

Los Angeles has nourished a dazzling array of independent cinemas: avant-garde and art cinema, ethnic and industrial films. This panoramic history of film production outside the commercial studio system reconfigures Los Angeles, rather than New York, as the true centre of avant-garde cinema in the US.

This "fly on the wall" perspective of the film and television industry brings to life, in a very unique way, a world our modern American culture, for better or worse, can't seem to get enough of. What is it like for just your average everyday person, who has no special knowledge of the business, to spend a day on the set of a movie or hit television series working with everyone's favorite celebrities. It's fun and exciting! There's no question, and the author makes you feel like you're right there with him. However, it won't take you long to realize that there's a lot more to it than that too, and in the end, it may be the "everything else" that truly makes this story worth reading... It's a lot of fun!

Lessons in Perception seeks to clarify notoriously elusive themes of the avant-garde with the use of existing research from the field of psychology. There is a long-standing history of reference to psychological concepts in relation to avant-garde film, such as its unique relationship to memory, visual perception, narrative comprehension, and synesthesia. Yet direct analysis of these topics in light of existing psychological research remains largely unexplored until now. More broadly, the aim of the book is to frame avant-garde filmmaking practice as a form of "practical psychology." In doing so, two principal arguments are proposed: first, that many avant-garde filmmakers draw creative inspiration from their own cognitive and perceptual capacities, and touch on topics explored by actual psychologists; secondly, that as practical psychologists, avant-garde filmmakers provide "lessons in perception" that offer psychological experiences that are largely unrehearsed in commercial cinema