“Did anyone talk to you about how we shoot”? When I arrived on the set to shoot a scene as Dr. Campbell, doctor to Grandma Saracen (Louanne Stephens), grandmother of Matt Saracen (Zach Gilford) these were the first words I heard from producer / director Jeffrey Reiner. “Hummm…not really” was my cautious reply, not exactly sure what was coming next.

Having worked in the film version of Friday Night Lights and having watched the TV show, I thought I had a feel for the process…hand held cameras, a fast-moving shoot, an almost harried pace, but I wasn’t completely sure what the director had in mind with his question. “We don’t rehearse” continued director Reiner and, (to paraphrase) ‘we keep it loose’, confirming my expectations…all except the ‘we don’t rehearse’ part. Even on the film of FNL there was some rehearsal before cameras rolled.

Immediately, I was approached by a props person who wanted my attention ASAP (I was being wired for sound) so she could go over use of the blood pressure device and stethoscope I’d be using in the scene. The words “no rehearsal” quickly came to mind.

Fortunately I have a bit of experience with these devices…at least the blood pressure device (who hasn’t had their blood pressure taken in a doctor’s office?). But I also have some experience in taking my 91 year old mother to visit her doctors. With a quick tutorial on placing the blood pressure cuff, etc. some quick blocking to set lighting and one of the cameras that would capture different parts of the scene, we were rolling.

I have to say the whole atmosphere was pure fun. Of course I was a little unsure of how working with props I’d just been handed – working out the action of taking the blood pressure, removing the cuff, placing the cuff out of the way, removing the stethoscope and relocating it and on the fly, incorporating those actions with the dialogue – would all work out.

But there was a real freedom in the fact that there was no rehearsal. There was no established ‘right’ or ‘wrong’ way to get the job done. No marks set on the move from the examination room and out into a hallway for the second half of the scene. So there was no pressure to do it ‘right’. I spotted up my position and got a feel for where I needed to land and that was that. The actor (me) was just free to play the scene and work with the other actors and with the elements (props, physical limits of the space, etc.) that were present.

How fun is that? Well, quite a bit, actually. Add to the mix that the series regulars are very accustomed to this style of filming and understood that, while certain dialogue had to be included to advance certain plot points, there was a lot of freedom to improvise and it makes for a ‘be on your toes’ atmosphere. So, to the new guy on the set (me again) it was important to do what every actor is always supposed to do anyway….listen and react. Just very organic ‘acting stuff’.

I can see how someone with little or no experience could be a bit unhinged in this kind of atmosphere…the uncertainty every actor feels on their first job or two would easily be magnified on this type production. But for a more experienced actor it’s great fun. The appreciation for how hard and well the crew works is amplified as well. These men and women are MOVING FAST and getting the job done extremely well. They have this process DOWN.

I hope this doesn’t come off like the director and crew weren’t doing anything because that is certainly NOT the case. The director was doing what good director’s do…tweaking action and performance issues where necessary between takes…letting the actors know that we were on the right track…just make this slight adjustment and let’s go again. Camera, sound, grips and gaffers, props, makeup, wardrobe, etc. were all there working their butts off to make it all SWING.

Now, I only worked on one scene in this episode so really I have no idea if they shoot exactly this way all the time, every day. But I expect it’s a consistent process. The thing that is interesting to me from the actor’s POV is that I have no idea what the footage looks like. Since there were on traditional camera setups I found it hard to visualize what was being captured.

I mentioned this to Louanne Stephens (Grandma Saracen) and she said something to the effect of “If they weren’t getting what they needed, they’d let you know. They really make the actors look good on this show.” This comports with my own experiences and I mention it here because a lot of less experienced actors are reading these posts.

You may think that if the director isn’t giving you props between every take that he’s not happy with you. Generally that is not so. In my experience on TV and even on film (where there is generally a bit more time to work), if the director says nothing to you, you know you’re on the right track. It’s only when they want something tweaked or changed or if they really don’t like what you’re doing that the director will spend any face time with you between shots.

They’ve got too many other things they’re juggling to ‘atta boy’ all the actors all the time. You may see them giving lots of ‘atta boys’ to the lead actor / actress, but unless you’re the lead, don’t expect it and don’t read anything untoward into the lack of it.

Just do your job and when you wrap, accept the ‘great job’, ‘nice job’, ‘good work’ or whatever comes and move on, understanding that you had a successful turn at bat. Enjoy that and wait for the show to air and see how successfully it all comes together.

Again for the less experienced who may be reading:

It’s always interesting to walk onto an established show to do a day, a few days or even a week. Make friends with the ADs and the set PAs. Make sure you check in ON TIME, drop your gear and get ready to…wait. You’ll probably do a lot of waiting, so get used to it. Find something productive to do. If you’re paperwork is waiting in your trailer fill it out. Go over your lines, read a book, etc. Stay accessible and don’t make anyone have to find you.

You’re an ‘outsider’ to some extent, a guest, and you’re visiting someone’s family for a brief period of time. It’s in your best interest to be the guest everyone wants to have back not the one they’re happy to see leave. As an actor you have a job to do but you have some quick calculations to make. My ‘radar’ is always at a peak in these situations because you need to get in, do your job and not drop the proverbial t**d in the punch bowl before you leave.

I have to say that my radar on Friday Night Lights was free can clear of any on-set ‘issues’ that you sometimes encounter…often immediately upon arrival. (Who’s mad, who’s hung over, who’s late…again, etc. etc.) The atmosphere was friendly, supportive and professional. I think that atmosphere shows in the product that these folks have been producing.

For Texas actors and other film professionals, we need Friday Night Lights to continue its run. Here’s hoping that this season will continue the excellence duly noted by the critics and that an even stronger fan base and audience will be forthcoming.

That’s my story from the set of FRIDAY NIGHT LIGHTS: Tami Knows Best. Season 3, Episode 2.

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