We see them all the time in movies and on TV but rarely give them a second thought.  They are the people who have no lines to say but who appear in the scene.  They are the people in the restaurant where the main characters are dining and they are the people who are the crowds on the sidewalk or in the courtroom. They are the people who – as T.S. Eliot wrote – “swell a scene.” They are  – in movie talk – “backgrounders” 

There are a number of reasons why people become backgrounders:

– some just want to be part of the “magic of the movies.”

– some are actors who see this as an opportunity to be noticed on screen.

– some see it as a second or third job. Even though working for about twelve dollars an hour is not likely a main source of income.

From a Friday afternoon (around 4.15 p.m.) in late May until very early (5.45 a.m.) the next day, I found myself with three other Jesuits being backgrounders for a major Hollywood film. Why?

(If this were a film or a TV show, a title would – at this point –  flash on the screen)

                        THREE MONTHS PREVIOUSLY.

In February a notice was circulated to Toronto area Jesuits asking if any would be interested in auditioning for a brief role in a Hollywood film. The film's director –  Oscar-winner Alexander Payne – ( Citizen Ruth, Election, Sideways, The Descendants) is a graduate of Creighton Prep, a Jesuit school in Omaha. The movie is called Downsizing and stars Matt Damon and Kristen Wigg.  One part of the movie portrays a high school reunion at Creighton.  After shooting exteriors at Creighton, the movie moved to the Toronto area to shoot the interiors of the alumni gathering.

A number of Jesuits auditioned for the role which was ultimately cut before shooting began.  However, in mid May, those of us who auditioned were asked if we wanted to be backgrounders in Toronto for the high school reunion scenes.

Alexander Payne valued the education he received from the Jesuits and wanted them to be part of the film.  He even had retreat banners and sports trophies from Creighton flown in for the scene.

            FRIDAY, MAY 28 – 4.00 P.M.

Four Jesuits – Dan Leckman, John O’Brien, Jon Polce and myself – all suitably attired in our black clerics – arrive at The Bridge – a Church that served as the staging area for backgrounders.  We were joined by Fr. Jim Zettel, a priest from the Toronto archdiocese.  When we arrive the place is already filling up with what will eventually be some 150 backgrounders. We are processed in, given forms to fill out which include a non-disclosure agreement about what we see or hear about the movie during the shoot.

Then we experienced our first “hurry up and wait” while others were processed, got their wardrobe settled, and made inroads on the sandwiches, donuts and other snacks.

It was at that time that we met Andrew, an Assistant Director, who was the shepherd for the backgrounders.  Growing up Catholic, Andrew was at ease with leading us.  And throughout the twelve hours that followed, he could be heard calling out at various times “Where are my priests?”  Andrew was also the one who arranged for us to have a picture taken with Alexander Payne.  Andrew and all of the crew were unfailingly polite and helpful through the twelve hours.

We were at the church for about an hour before being bused to the set at a high school about a five minute drive away.  The other backgrounders weren’t sure at first whether we were “real” priests or just backgrounders in costume. This caused some interesting moments.

Arriving at the school – which thankfully was air conditioned given the +28 degree weather – wearing full clerics for 12 hours was – one might say “interesting.”  We were divided into three groups and put into rooms where we again experienced “hurry up and wait”.

Eventually we were led into the large and spacious foyer of the school where registration for the alumni gathering was to take place. For some reason, the director positioned me at the front of the foyer talking with an alumnus and his wife (in reality he was, of course, not an alumnus – just as this was not Creighton Prep nor was this Omaha – the magic of the movies would make it appear to be all those things). This was their first time as backgrounders and they had met only an hour earlier but would now be a couple for the shoot. They were fun people with whom I would spend most of the twelve hours.

When the camera rolled we were supposed to be talking about the alumnus’ time at the school.  To lighten things up, when shooting began, I congratulated “Tom” on his proficiency in Grade 9 Latin and asked if he could still translate the Latin saying “ubi ubi est meus sub ubi”. (where O where is my under wear). Yes, yes – I know how corny it sounds but it got them laughing and after the director said “Cut”, he passed by me said, “I have just immortalized you, Father.”  To which I ought to have replied, “I’d rather you canonized me.” Throughout the shoot, Alexander Payne was most gracious and welcoming to everyone and several times during the shoot he spoke briefly with the Jesuits.

                        FRIDAY, MAY 28 TO SATURDAY, May 29, 2016

You might ask what’s with the “hurry up and wait.” Imagine this – a banquet area for about 150 backgrounders with table set with placings for eight and a full buffet – plus space for the camera to move.  This whole area has to be well lit.  Imagine the first shot takes in the full room.  Let’s say that the next shot is a close up of Matt Damon and Kristen Wigg  sitting at a table.  New lighting is set up, space arranged for the camera to move.  Measurements taken to ensure that all areas in the shot stay in focus. Sound levels checked. 

And then there is the human element – are the backgrounders in the same place they were for an opening long shot and are the “drinks” they are holding at the same level in the glasses as they were for the opening shot; do the actors have their lines down; is the director pleased with what he sees and hears or do some changes need to be made. All of this takes time.  Backgrounders are usually moved back to their green rooms while all is being prepared. 

But what are Jesuits doing as backgrounders?  We did it in part to thank Alexander Payne for portraying our schools and us in such a positive way.  But there was also something else that happened.

Once people accepted that we really were Jesuits and not actors, a whole area of evangelization opened up. People saw that we were approachable and easy to talk with.  Later, after the shoot, each of us had stories we shared of how people spoke to us – sometimes asking for advice, sometimes just to talk, sometimes to ask us to pray for them, and sometimes to tell us that they had been brought up Catholic but had not been practicing. 

Maybe it was the long hours we were together in our groups and felt like family, maybe it was because we were all so tired, or maybe it was just because it was what they needed and had a chance to do so that this happened.  Whatever the reason, we were there as Jesuits listening and helping in any way we could.

And yes, at the end of twelve hours despite getting our third and fourth wind (if such things are possible), we were tired and our feet hurt something terrible from all the standing (the women in my group who were in high heels welcomed the break when they could remove their shoes) and we really wanted to go to sleep – even after all that –  “hurry up and wait” was worth all of it. 

Our thanks to Alexander Payne who made this possible and who exemplifies the spirit of an alumnus of a Jesuit school – “to be men for others”

                        SATURDAY, MAY 29 – 5.45 A.M.

The shoot is almost finished.  The members of the crew have begun the clean-up.  As I walk down a corridor, I see one of the crew coming towards me pushing a large light stand.  He looks as tired as I feel.  I say “Good morning” in what I hope is a cheery voice.  He smiles and replies “Good morning, Father.”  Does he know I am really a priest?  Probably.  After twelve hours almost all the cast and crew know. But does it matter?

I began with a quote from T. S. Eliot. I finish with a quote from his poem Journey of the Magi that could well apply to our experience of being a backgrounder – “it was, you might say, satisfactory."