I was flattered and intrigued when Leon Cole, a student in the UK, reached out to me. He wanted to compare elements of my novel My Life as an Extra with the BBC/HBO sitcom “Extras” written and directed by Ricky Gervais and Stephen Merchant. He said I could share the essay (with a few edits), so here it is. I hope you’ll share your thoughts in the comments.

AN INVESTIGATION OF THE REPRESENTATION OF TELEVISION AND FILM SUPPORTING ARTISTS IN ‘MY LIFE AN EXTRA’ – KAUFMAN (2017) COMPARED WITH ‘EXTRAS’ SEASON ONE EPISODE TWO – GERVAIS AND MERCHANT (2005) by Leon Cole – Actor and Comedian

INTRODUCTION AND AIMS 
My literary text is Ruth Kaufman’s ‘MY LIFE AS AN EXTRA’. It is a comedy novel that was she self-published in 2017 on Amazon and is the first installment of a two-part series surrounding Marla Goldberg’s experience as a television and film extra. In the novel, she is attempting to climb the entertainment ladder and desperately desires to become an actress, while also attempting to search for a new partner having been recently divorced in the exposition of the narrative. The novel was written from a homodiegetic narrative perspective. Ruth Kaufman was a television and film extra “more than 70 times” while seeking and booking some speaking roles. Despite her long time as a supporting artist, she prevailed with her dreams to become an actress hence the preface of her novel “For everyone pursuing creative goals and dreams” as “The point of the book is that how do you handle it when you are treated to feel like an extra when you wanna be treated like you’re special.”

Like Marla Goldberg, Ruth Kaufman worked a job she didn’t love just to ensure she had a stable income before becoming a full-time freelance actress (“I had a couple of jobs, that were great jobs but they just weren’t for me”). Some on set experiences of Marla Goldberg within the novel have been taken from Ruth Kaufman’s real-life experience as a supporting artist. For example, in the novel Marla works on a film called “Superhero IX”, it was revealed in an interview conducted by Leon Cole that it was “Spiderman 2”. This firsthand experience of Kaufman shows she is no stranger to the feelings of hope and status in the context of the film and television series. These are the themes I wish to investigate within the two texts. Ruth Kaufman’s personal career arc parallels Marla Goldberg’s character arc in the novel as Ruth Kaufman herself had the hope to become an actress while working as a low status supporting artist in the film and television industry.

My non-literary text is the television transcript of Stephen Merchant’s and Ricky Gervais’, Ross Kemp’s and Vinnie Jones’ that is the second episode from BBC’s/HBO’s situational comedy ‘EXTRAS’. It aired on television on the 18th July 2005. The sitcom follows Andy Millman, an aspiring actor who can only get extra work as he shamelessly sucks up to the distorted version of the guest star of that episode in order to get a line; in this case Ross Kemp as Andy and his friend Maggie are both working on a period drama of which Kemp is the star of. Gervais said in an interview “It [‘EXTRAS’] was never meant to be a satire about modern day film and television. That was just a backdrop […] it was more about relationships […] people struggle- and getting on- and ego and desperation.” So the film and television industry setting was not supposed to be the main focus of the show. It was for the audience to see the different character traits, status and archetypes that occur in a social setting of which they compared this to their previous writing work on ‘The Office’.

Gervais commissioned Karl Pilkington to create a documentary (“Ricky has given me a role as an extra and he’s asked me to film what it’s like being a- a real life extra”) on ‘EXTRAS’ to which Karl said “I don’t know how people do this day in, day out, it can’t be good for you, it can’t be good for your head this. Just sat about doing nothing. You’re just treated like an ornament”. Ricky Gervais and Stephen Merchant were worried about the “The difficult second album syndrome” due to ‘The Office’ being so successful, they used their status and money they got on ‘The Office’ in order to create ‘EXTRAS’, pulling in the guest stars to give the world more “Realism”.  Ricky Gervais and Stephen Merchant reversed the formula that they used for ‘The Office’, where the lead character David Brent had the most status as the boss of the paper company in a mockumentary, now for ‘EXTRAS’ the lead character Andy Millman has the lowest status as an extra and it is a more traditional sitcom. The television episode demonstrates the themes of hope and status for Andy to achieve his character motive goal of which I am wishing to explore.

Both writers are writing from different perspectives at different points in their careers. Ruth Kaufman as of 2017 was an emerging actress who had done supporting artist work and quite a few speaking parts in student and indie films, web series and principal roles in two national commercials, whereas Stephen Merchant and Ricky Gervais were household names at the time of writing ‘EXTRAS’ and their careers had launched due to the creation of ‘The Office’ as well as their work on the XFM radio channel since the very late 1990’s and early 2000’s. Neither Ricky Gervais or Stephen Merchant had ever done supporting artist work in their careers so I wonder in my investigation if there’s a clear distinction between the two texts in the representation of Extras, as one text’s writer has first-hand experience of being an extra, whereas the other text’s writers have had no experience due to Gervais and Merchant jumping straight into the industry as writers and performers but Kaufman had to make her way up the ladder slowly.

REVIEW 
Television and film extras have different needs than actors, they want more respect and status in the industry. Marla Goldberg and Andy Milman have lots of similarities, for example their desire for respect within their field. Maslow’s psychological theory of ‘The Hierarchy of Needs’ (1943) applies to the motives of the two characters very well throughout their narratives. The theory comes from his paper ‘A Theory of Human Motivation’ in the academic journal called ‘Psychological Review’. ‘The Hierarchy of Needs’ is a classification system behind the level of desires/motives a person has for a need. Maslow stated, “Human needs arrange themselves in hierarchies of prepotency”, showing that the power/influence are categorised into stages of character’s desires. In terms of ‘MY LIFE AS AN EXTRA’, it can be argued that Marla is on the fourth hierarchy of needs (Esteem – respect, status, recognition), she wants to be better respected within the industry but she’s only an extra. This relates to the personal feelings of Ruth Kaufman as she herself was in a similar position to Marla, stating in an interview “how do you handle it when you are treated to feel like an extra when you wanna be treated like you’re special?” being a main motive behind writing ‘MY LIFE AS AN EXTRA’. Kaufman herself wanted to be a working actress, just like Marla at the moment in the novel.

In ‘Extras’, it can be argued that Andy is also at the fourth hierarchy of needs. His main motive of the episode is to bump up his status as an extra and to be recognised as an actor, wanting more respect in the industry. He states within the episode “All this ‘Oh we’ll cut before the fat bloke gets his face in shot.’ It’s just absolutely demeaning , I don’t know why I put myself through it.” after a director had insulted him while working on a television show. This is what fuels his character motive for the rest of the episode. Gervais said in a behind the scenes documentary, “It [EXTRAS] was never meant to be a satire about modern day film and tv. That was just a backdrop […] it was more about relationships […] people struggle and getting on and ego and desperation”. Andy desires to move higher up in the entertainment industry, trying to achieve the need of esteem but it’s his relationships between his agent Daren Lamb, Maggie and guest stars is what holds him back. This character relationship based writing can be argued to be an auteur trait of Gervais, as his other television shows such as ‘The Office’ and ‘Derek’ use other establishments (A paper merchants and a care home) as a backdrop for a place where relationships between people are seen and as such were the motives of characters can be seen and pinpointed on Maslow’s hierarchy of needs.

ANALYSIS 
HOW ARE TERMS OF ADDRESS USED WHEN REPRESENTING THE LACK OF STANDING OUT?
Kaufman and Gervais/Merchant both use non-specific nouns as terms of address when talking about the narrative’s protagonists who are both aspiring actors but as of now can only get extra work. This is to show that they can’t stand out, setting up the theme of status within the entertainment industry as both of the quotes come from the opening of each text.

In ‘MY LIFE AS AN EXTRA’ in the first chapter, Marla said her signature song would have the opening lyrics be “I’m the extra not the star”, the use of the term of address “the extra” creates a sense that she is not important and does not stick out due to the vagueness of the description of herself, making her have a low status in comparison with the juxtaposing opposite term of address mentioned within the sentence; “the star”. This highlights the power status in job role, creating a contrast as she is saying the sentence as a declarative statement, so further creates that strong element of truth that Marla is self-aware she is not important. This self-awareness of not standing out is still present later in the narrative: “How do I get people to treat me as if I’m special at work or when I’m an extra?” further showing how the characters don’t stand out whilst overall adding to the novel’s main message of “that how do you handle it when you are treated to feel like an extra when you wanna be treated like you’re special”.

In ‘EXTRAS’, Andy Millman has just finished appearing in a shot wherein the director says, “Excellent. We’ll cut before that fat little extra gets his face in,” the use of the non-specific term of address, “that fat little extra” is to show how the people who have a high status in productions do not care about supporting artists. Deliberately not bothering to learn Millman’s name highlights how unimportant Millman is for the production. This is insulting as he is reduced to nothing more than his job role, like Marla is, just because both of them do not have lines. Later within the episode Millman talks about the comment saying, “It’s absolutely demeaning” and “Why’s he [Ross Kemp] the star and not me?” Also the use of the adjective within the term of address “little” further pushes the lack of status, as it has connotations of being measly and tiny, creating a sense of Millman being belittled whilst also it shows the views of higher ranking workers on SA’s in the entertainment industry. To further add to how the low status of extras is represented, at this point within the episode mise en scene character positioning was used; Andy was just walking past the director having close proxemics to each other when the Director delivered that line, so the director made no effort to prevent Millman from hearing that comment.

Both of these quotes are seen at the beginning of the text’s narrative; Chapter One in Kaufman’s novel and one minute into Merchant’s/Gervais’ episodes instantly establish that the main protagonists that the reader/audience are aligned with are also the ones with the least status in which sets up their character arcs and motives in order to desire more than the life of a low level, non-standing out background actor. Hence why non-specific terms of address are used to establish their rank at the start of the narratives, that they are nobodies.

HOW ARE DECLARATIVE STATEMENTS USED IN REPRESENTING THAT EXTRAS ARE NOT ACTORS?
Kaufman and Gervais/Merchant use declarative statements in order to show how extras have been represented as not being seen as actors in each of their texts. In ‘MY LIFE AS AN EXTRA’ , Marla in  a self-narration thinks to herself as she is stuck in SA holding “I’m not acting […] I vow not to be any kind of extra again. And to get a real acting job”. The use of the declarative statement “I’m not acting” really highlights the character motive of Marla and her thoughts and opinions with her job status. This takes place in Chapter Three near the opening of the narrative. This further establishes that Marla thinks lowly of herself due to her status within the entertainment industry. The use of herself thinking she is not an actress is to set up her thirst to become one, creating her character goal for the narrative. The declarative statement emphasises the strength and how sure Marla is, that being an extra is not being an actress. Within the quote, “And to get a real acting job”, the adjective “real” has connotations of reality and truth. This further shows that the entertainment industry and Marla knows that extras do not have the ability to act hence in an interview with Leon Cole, Kaufman said “principal actors, people who speak (…) are treated very differently by everyone than extras are”.

Later in the narrative wherein Marla is an extra at a train station, she says in a narration “I should’ve known better than to accept a commuter ‘role’.”  This is also a declarative statement, but there is pragmatic emphasis on the noun “‘role”. This is a self-mocking insult at her job in this production as an extra, further carrying on the opinion that extras are not actors. This is a reminder that Marla is still on the low status ladder of the entertainment industry.

In ‘EXTRAS’, Millman is talking to Maggie on the SA bus and he says, “This isn’t acting, getting the back of your head or an arm in a shot.” This declarative statement further establishes within the beginning of the episode that Andy is aware extras are not actors, and so gives him a character motive to aspire to be more than what he is now. The connective “Or” in context to the declarative sentence is supposed to show how small and insignificant of a role Andy is playing for not even his face to be in a shot and so giving Andy that self-awareness he is of a low status within the entertainment industry.

HOW ARE LINGUISTIC DEVICES  USED IN REPRESENTING THE PAY FOR EXTRA WORK ? 
Kaufman and Merchant/Gervais both use adjectives to represent extras as poorly paid in each of their texts. In ‘MY LIFE AS AN EXTRA’, when Marla is working on a film in the cold, she overhears two extras that say they are not returning for tomorrow’s filming due it being “not worth the money.”

This shows that this unnamed extra would be willing break the continuity as well as burn a bridge with the extras casting director and perhaps others involved with the production (You probably won’t get hired again by an extras casting director if you do not turn up on your booked days) as a direct result of the poor pay. “Worth” is an adjective having connotations of value. This represents extras, as despite their bad filming conditions they are not paid a lot, which further adds to the point that SA’s are looked down upon in the entertainment industry. The use of elision makes the speaker seem adamant and sure in their belief about the pay. So this gives the edge that the unnamed extra is abrupt and even annoyed about this due to the absent start of the sentence within the dialogue.

In ‘EXTRAS’, Andy is reading out his CV that his agent wrote for him. “He’s [Andy’s] had no offers except for extra work which is as you know pointless and badly paid.” The adverb “badly” has negatively described the pay, this is the agent Darren Lamb criticising the pay for extras and as such criticising Andy Millman’s income. This is Andy’s CV that is going to be sent out to casting directors, the quote insults Andy and doesn’t give him a good look for the entertainment industry. The adjective “pointless” conveys the idea of futility that extras are not valued or paid well in comparison to actors.

This solidifies that Darren Lamb is adamant in his view of SA’s being badly paid as the quote is written down as though it were a fact highlighted by the condescending colloquial phrase of “as you know” toward the casting directors who read the CV. This makes the audience share the embarrassment that Andy has while he is reading his CV out. This also further establishes the overarching point that extras lack value in the entertainment industry.

CONCLUSION 
In conclusion, despite the two texts I have investigated being produced twelve years apart from each other, their connections between the respective representations of the supporting artist that boil down to: there is a lack of standing out, extras are not actors and extras are poorly paid. Both the primary protagonists of each text are stuck in the same position as each other – they both have a low status in the entertainment industry as extras, and both have the same character goal to become an actor/actress. Both texts share the same themes of attainment, status and goals.

Similarly, they both achieve speaking roles by the end of their respective narratives, fulfilling their primary motives over the course of their stories.

However, despite their similarities in terms of character, narrative and primarily, the contexts behind the writing differ. Gervais or Merchant were never extras, they jumped straight into the entertainment industry as writers and performers. So, they didn’t need to climb the ladder from an extra to an actor. This meant the reasoning behind writing Andy Millman as an extra was for status and was for the character dynamics of the episode.

Alternatively, as Kaufman was an extra in over seventy productions, she used this experience into the writing of her novel, she even stated that some events depicted in the novel were what happened to herself. She started as an extra and worked her way up, eventually getting speaking roles in film and television. This meant the reasoning behind writing Marla Goldberg as an extra was to show the profession of a performer attaining their goals, hence the preface of the novel stating “For everyone pursuing creative goals and dreams”. The representation of extras in ‘MY LIFE AS AN EXTRA’ is to show the journey Marla had to go through in order to attain her dreams, whereas the representation of extras in ‘EXTRAS’ was a by-product on Gervais/Merchant using the film and television industry as a backdrop where character relationships develop.

APPENDIX

MY LIFE AS AN EXTRA – Literary
KEY :
(…) = Omitted from quote as information not relevant
C = Chapter
P = Page
E.g C1P6 = Chapter 1, Page 6

PREFACE 
“For everyone pursuing creative goals and dreams.”

C1P4 
“This is the essence of my life. Were I a country singer , my signature song would start like this , accompanied by the sounds of a melancholy guitar strumming:
I’m the extra not the star. I am close but no cigar. Though I yearn to be the best, Can’t seem to rise above the rest.” – Marla Goldberg narration
“Extra work is rarely glamorous, and can be quite gruelling if you’re on your feet for hours. But I enjoyed being picked for a small scene like this , as opposed to a crowd scene , when extras can be treated more like cattle than people.” – Marla Goldberg narration
“‘You , you and you.’ A young guy (…).
I’m the third you. I’ll be going to set.”  – Marla Goldberg narration ( featuring 3rd AD )

C3P33
“They take my voucher to ensure that I’ll return the jewelry. If I don’t turn the voucher in after we wrap, I won’t get paid.” Marla narration
“I change in the part of the crowded room curtained off and labelled WOMEN,” Marla narration
“It’s only 7:00AM. Everyone else laughs and talks as if they don’t have a care in the world” – Marla narration about other extras

C3P34
“For once, I’m happy to remain behind. As the day progresses, more and more people are taken off to heaven. I’m left in purgatory. – Marla narration about being left in SA holding
“By 5:00PM, I’m still stuck in holding with about twenty others who were returned. Please let me go home. Please.” – Marla narration, saying 20 extras came back
“‘I can’t stay for any longer,’ she says ‘We’ve been here for twelve hours. I thought for sure we’d be done by now.” Her voice is high and screechy.
“Weren’t you told to stay until wrap?”
“Well yes,” she admits. “But the other two times I was an extra we didn’t have to stay this long so I thought…Look, my kid’s daycare closes at six. I have to pick him up.”
“You’ve already been established. We may need you for continuity.”
“Well, I don’t need you or your damn 84 bucks.”
(…) Several extras shake their heads. The production guy looks pissed. No matter how good her reason for bailing, she’ll never get called by EXTRAvagant again.” – A narration from Marla Goldberg as she sees an exchange between an extra and a production guy.

C3P35
“I’m not acting. I’m not even extraing. I’m an extra extra. I vow not to be any kind of extra again.And to get a real acting job. Somehow.” – Marla Goldberg narration.

C4P41
Crew and stand-ins lift the luscious nibbles to their mouths. Extras drool and go without, hungry and forlorn.” – Marla narration
“In fact, on many movies we’re told not to approach or talk to the stars or we’ll be sent home. We can respond if spoken to. (…) Once we were even told not to look two A-list male stars in the eye.” – Marla narration
“‘I’m not coming back for tomorrow,’ a woman says.
‘Me either. This is torture,’ Another replies through chattering teeth
‘You got that right. Not worth the money.’ ” – A brief exchange between two female extras talking about the shoot that Marla overheard.
“The potential for good shots. And TOS: time on screen. Gets me every time. The rare opportunity to be upgraded to featured or get a line. Such is the life of an extra. Even true suffering can’t squelch the hope of future reward.” – Marla narration

C4P47
“The end of the day, at last.
‘C’mon, we’d better hurry,’ Jeff says.
Ah, a man who understands the fine art of being an extra. He too wants to race to holding to be near the front of the line and avoid a long wait as the staff checks our vouchers and signs them. Something about endless hours of filming makes me extremely impatient to go home the instant wrap is called.” – Marla narration

C9P120
“They pack most of us into the staircase like sardines , so when the director says, “Action”, we’ll burst forth from the opening at the bottom to simulate a rush hour crowd.
(…)  “ACTION!” – Marla Goldberg narration of being an extra in a rush hour crowd scene.
C9P120 
“There are two intriguing elements to being an extra, also known as atmosphere or background, I’ve not yet mentioned.
First, even a lowly extra has some power…the power to screw up the shot and anger the crew
By walking the wrong way or at the wrong time or bumping into someone or the camera. Second even an extra has a certain level of cool.”  – Marla narration of being an extra commuter

C9P121
“We pile back into the vans and return to Evaston where our new holding area is
(…) We enjoyed a tasty buffet lunch.  A huge benefit of being an extra is the food. Especially fine since I don’t have to shop or pay for it, cook, or clean up after it.
(…) I can’t see the camera, which is not a good sign. I should know better than to accept a commuter ‘role’” – Marla narration of being an extra commuter

C16P169
“Eventually, someone comes for us and leads us to the real holding area several blocks away, like the Pied Piper and her flock as we schlep our garment bags and suitcases stuffed with possible wardrobe.
Am I addicted to being an extra? No, I keep doing this because nothing better has come along. The eutrophication of disappointment, the runoff of criticism and erosion of faith combine to contaminate my vast sea of hope that something better will.”  – Marla narration working on a medical TV series.

C16P170
“‘Scrubs, we need you on set right now!’ A man yells.
We’ve been sitting in there over an hour and all of a sudden they need us. That’s the life of an extra: hurry up and wait.” – Marla narration of working on a doctor tv program.

C16P170-71
“‘We’re losing the light,’ a man yells.
‘Scrubs, hurry! We need you right now.’
There’s nowhere to change.
One woman drops her pants right in the middle of everything. Luckily my scrubs are big enough to fit over my clothes. I pull on my pants. They’re miles too long. I roll and roll the waistband. I yank on the baggy shirt and fix my ponytail.
I do not look as cute as they do on TV.
‘You. And you.’ A headset wearing guy points to me.
‘Stand over there. Then cross the street on background action.’

C16P171-72   
“‘Cut. Back to one.’
We cross several more times, me trying not to trip on my pants or get hit by a car. If I get hit, will someone rush me to the ER?
They turn the camera around, move it across the street and do the whole shot again from that angle.
Suddenly I hear, ‘That’s a wrap!’
For once we’re sent home early. A mere five-hour day, though we still get paid for eight with two measly shots, really just one for me.
That’s showbiz.” – Marla narration while working on doctors tv series

C18P190
“I’m important. How do I get people to treat me as if I’m special at work or when I’m an extra?” – Marla narration while in a meeting getting ignored

C19P208
“I’m the extra not the star.
I am close, but no cigar. 
Though I yearn to be the best, 
Can’t seem to rise above the rest.

I’m A minus not an A 
Some may think that grade’s OK 
Still I always strive for more 
Why do I need the highest score?

Enough of that. Time to change my tune.” –  Marla narration

C26P262
“I can enjoy my life as an extra as it’s a wonderful one” – Marla Narration 

EXTRAS SEASON 1 EPISODE 2 ROSS KEMP AND VINNIE JONES – Non literary 
KEY:
00.00 – Scene Time Index = When within the episode the conversation took place
CHARACTER: = Character’s following line was spoken by them
DIRECTIONS = A brief description of who is in the scene , what is happening and where at the start
[….] = Non-verbal directions that occurred within the scene
{…} = Information that is needed for the context of the conversation , not spoken or indicated within scene
01.01 – Scene Time Index 

ANDY HAS JUST STEPPED OFF FROM SET. HE IS WALKING WITH MAGGIE WHEN HE WALKS PAST THE DIRECTOR WHO IS TALKING TO HIS CREW. 
ANDY:  Did you see me?
MAGGIE:  Yeah I did, definitely.
DIRECTOR:  Excellent. We’ll cut before that fat little extra gets his face in.

01.37 – Scene Time Index 
MAGGIE AND UNNAMED FEMALE EXTRA ARE IN THE WARDROBE DEPARTMENT WITH A COSTUME DESIGNER. THE DIRECTOR ENTERS 
DIRECTOR: Hey. Who are we using for the girl by the carriage?
COSTUME DESIGNER:  Err we thought this one.
DIRECTOR: Oh, no , no. I said I needed some decent tits and they’re, they’re um…rubbish.
MAGGIE: Well, I could maybe pad them up a bit or just sort of like push them.
FEMALE EXTRA:  You could use these.
DIRECTOR: Bingo.
MAGGIE: We’ll bingo these in half an hour after I’ve had a wee footer, I just need to squeeze them.
DIRECTOR:  Work on them over lunch, yeah ?
MAGGIE: Yes.
DIRECTOR:  Because at the moment they’re just ugh, nothing.
MAGGIE: Ok.
DIRECTOR: Good.
FEMALE EXTRA: Would it be easier to use these?
MAGGIE: Well, no we decided to use mine, so we can just go, if I just squeeze them up…

03.32 – Scene Time Index
ANDY AND MAGGIE ARE TOGETHER ON THE FOOD BUS EATING LUNCH
ANDY :  I don’t know why I do this.
MAGGIE : What?
ANDY : All this, ‘Oh we’ll cut before the fat bloke gets his face in shot.’ It’s just absolutely demeaning , I don’t know why I put myself through it.
MAGGIE : ‘Coz you’re an actor.
ANDY : This isn’t acting, getting the back of your head or arm in a shot. And bloody Ross Kemp in every scene. He gets all the lines. D’you know what I mean? Why’s he a star and not me? There but for the grace of God go I and it’s just-
MAGGIE :  [GIGGLES] ANDY : What?
MAGGIE : It’s not quite.
ANDY :  It is.
MAGGIE : Well it’s not just luck is it?
ANDY : Why not? We’re about the same age.
MAGGIE : No, he’s younger than you.
ANDY : No he’s not, we’re the same age.
MAGGIE : Is he?
ANDY :  Yeah.
MAGGIE :  He looks a lot younger than you.
ANDY :  You’re having a laugh! He hasn’t got any hair!

05.14 – Scene Time Index 
ANDY IS AT AN EXTERIOR PART OF SA HOLDING WHERE THERE IS WATER AND SNACKS. GREG ENTERS. 
GREG :  All right?
ANDY : All right, Greg?
GREG :  Indeed I am.
ANDY : Good.
GREG : I’m actually working across the way, Studio H – The big one. Doing a film with Mr Vinnie Jones. So err learning a few lines I’ve got to do with him later.
ADY : Lines?
GREG : Yes, indeed.
ANDY : Well done.
GREG : So what’s your part in this epic, then? Fourth semen from the left?
ANDY :  Hardly.
GREG : Or something a bit more…a bit more meatier, bit more substantial? You got a speaking part or a…? No?
ANDY :  Not in this one, no.
GREG : Seriously, how do you survive?
ANDY :  Don’t worry about it…really.
GREG :  Digging into the err savings?
ANDY : Not really.
GREG : The pile diminishes does it? Gotta get some work soon, gotta get some work soon!
ANDY : Working all the time mate. Don’t worry about it.
GREG : Sort of, sort of.
ANDY : Are your parents still sending you money?
GREG : Yeah. Either that or I, you know, threaten to sign on. And lo the cheque doth cometh in the post. It keeps the wolf from the door.
ANDY :  How is the door of the house your parents bought you?
GREG : Yes. Fine.
ANDY : Good.
GREG : Look, I’ve got lines to learn.
ANDY : Oh, thanks for coming over and sharing that with me.
GREG : Seriously mate, something will crop up.
ANDY : Don’t worry about it mate, worry about yourself mate.
GREG : Stiff upper lip.
ANDY : Yes.
GREG : And other cliches too numerous to mention.
ANDY :  Don’t mention them then.
GREG : I’ve got to go.
ANDY : Cheers mate, see you later.
[GREG LEAVES] ANDY : Tosser.

09.12 – Scene Time Index 
AN UNNAMED FEMALE EXTRA , MAGGIE , ANDY , GREG AND A NON-SPEAKING SUPPORTING ARTIST ARE ON SET DURING A BREAK. 
FEMALE EXTRA IS NOT THE SAME CHARACTER AS BEFORE.
FEMALE EXTRA: What do you do I mean when you’re not doing this. Your day job?
MAGGIE : I work in a pub.
FEMALE EXTRA : And what about you ?
ANDY : I do this full time. I’m an actor.
FEMALE EXTRA :  You do this full time?
ANDY : Yes, yes. Like most actors, I act full time.
FEMALE EXTRA :  Yeah but this isn’t acting, is it ? I mean this is extra work.
ANDY :  Well… No, supporting artist work, isn’t it ? But this is just pocket money. I am actually an actor.
FEMALE EXTRA : Right. I was going to say you can’t really make a living from being an extra.
ANDY : Nooo.
MAGGIE :  No but he used to have a proper job. No he used to- He owns his own house, doesn’t pay a mortgage, so he can afford to live on a pittance.
ANDY  :  But I don’t live on a pittance, do I? People pay me to act so-
GREG : Yeah you say you’re an actor-
ANDY : Yeah I do.
GREG : But what have you acted in?
ANDY : I’ve appeared in-
GREG : Proper acting, not walking in the background, actually speaking?
ANDY : I- I know.
[SMALL SILENCE] GREG : Well?
ANDY : What? You want me to…?
GREG : Yeah.
ANDY : Ok. [SMALL SILENCE] My Family – Robert Lindsay sitcom.
FEMALE EXTRA :  Really ?
ANDY :  Yeah it was just a scene on the bus and the bus conductor comes along and says ‘ Tickets please !’ And I went ‘Yeah sure, no problem.’
GREG :  Did you?
ANDY : Yes.
GREG : That was the line?
ANDY : Yeah. He just comes along and goes ‘Tickets please! And I go‘ [SLIGHT MUMBLE] Yeah, no problem. There you go.’
GREG : So if I got that episode, that’s what I’d see ‘sure, no problem.’
ANDY : Well [MUMBLES] yeah [MUMBLES AGAIN PRETENDING TO HOLD TICKET] GREG : What? I didn’t – What’s the line
ANDY : What’s the problem?
GREG : Well, what is the line?
ANDY : The conductor wants the ticket, I’m showing it to him.
GREG : And what do you say?
ANDY : He asks for my ticket.
GREG : Yeah.
ANDY :  And I go…[ANDY IS SILENT WHILE HOLDING THE TICKET] GREG : I didn’t – I can’t hear what you’re saying. No let’s do it.
ANDY :  Why? Oh this is pathetic. Pathetic.
GREG : Let’s do it like it is on the screen. I’ll be the bus driver, okay? And you just be you. Tickets please! Can I see your tickets please?
[ANDY MOUTHS THE LINE BUT DOES NOT SPEAK IT WHILE HOLDING PRETEND TICKET] GREG  :  I can’t hear anything. No-one can hear anything.
ANDY :  Oh, it was years ago!
GREG : But you see- But that’s not proper acting! Ok.
ANDY : Oh what is it then?
GREG : Well, I can tell you what I’ve acted in. Show you what I mean, if you want?
ANDY : Not interested.
GREG : I’ve acted in and I’m talking proper speaking parts in Emmerdale, err Silent Witness-
MAGGIE : Silent Witness!
ANDY : Shut app [TO MAGGIE] GREG :  Err I was a nark in the Bill err that was a recurring character. That was three episodes errm and really good lines of dialogue. You haven’t even been in the Bill have you ?
ANDY : I don’t want to be in the Bill.
FEMALE EXTRA : You haven’t even been in the Bill? [WHILE SNEERING] ANDY : Listen, I don’t want to be in the Bill.
FEMALE EXTRA : Have you ever been in Casualty?
ANDY : Yes.
GREG : The TV show Casualty?
ANDY : Oh well no but…no. [SILENCE] [COUGHS] [SILENCE]

14.11 – Scene Time Index 
ANDY AND MAGGIE ARE WALKING OUT OF THE STUDIOS. ANDY IS HOLDING HIS CV.
ANDY : The man {AGENT DARREN LAMB} does not know where to start, ok ? This is my CV he’s sending out to people. I mean casting agents, producers- he typed it himself, ok ‘ From 1986 to 1999 Andy Millman worked at the NatWest in Wokingham. Andy left this comfortable, adequately-paid job to try and become an actor, despite his age, weight and looks. Andy claims to be a great actor but has not yet had the chance to prove it because so far he’s had no offers except extra work which as you know is pointless and badly paid. Acting is Andy’s dream. If you can make that dream come true, please, please call.’ I mean, it’s like he’s writing to Jim’ll Fix it.

20.02 – Scene Time Index 
MAGGIE IS ON SET TALKING TO A POTENTIAL LOVE INTEREST WHO IS THE STAR. 
MAGGIE :  I tell you, if there’s a hag, a washer woman, a toothless wench to be had it’ll be me. I’m never the one who gets to wear the taffeta dress! It’s not fair.

REFERENCES
Cole, L (2023) – ‘MY LIFE AS AN EXTRA’ INTERVIEW – WITH NOVEL AUTHOR/ACTRESS RUTH KAUFMAN, mise en scene

Gervais, R and Merchant, S (2005) EXTRAS – Ross Kemp and Vinnie Jones, BBC/HBO https://youtu.be/9AiVUSQYa3o

Gervais, R and Merchant, S (2005) EXTRAS The difficult second album, BBC/HBOhttps://youtu.be/Ci4owG4Ym3E 

Kaufman, R (2017) MY LIFE AS AN EXTRA, Amazon

Pilkington, K (2007) – The real-life EXTRAS, BBC/HBO https://youtu.be/UMS37RPht-4

Maslow A.H (1943) A Theory of Human Motivation, Physiological Review

Rennie, David L (2008) Two thoughts on Abraham Maslow – Journal of Humanistic Psychology

BACKGROUND (pun intended) INFORMATION
RUTH KAUFMAN:
 IMDb: https://www.imdb.me/ruthkaufman

Author Website: https://ruthkaufman.com/ 

Actor Website: https://ruthtalks.com

EXTRAS: 
Ross Kemp and Vinnie Jones – IMDb Article https://www.imdb.com/title/tt0574499/ 

IMDb Article https://www.imdb.com/title/tt0445114/ 

Everything you need to know about working as a supporting artist  – Star Now Article

https://www.starnow.com/uk/magazine/article/everything-you-need-to-know-about-working-as-a-supporting-artist-69311/

Ricky Gervais Biography – Britannica Article https://www.britannica.com/biography/Ricky-Gervais 

Stephen Merchant Biography – Comedy Guide Article  https://www.comedy.co.uk/people/stephen merchant/ 

The Ricky Gervais Show (XFM Radio) – The Ricky Gervais Show Page https://www.therickygervaisshow.com/ 

MY LIFE AS AN EXTRA:
https://www.amazon.co.uk/My-Life-Extra-Humorous-Novel-ebook/dp/B06Y1XPVFL

https://www.amazon.com/My-Life-Extra-Ruth-Kaufman/dp/0990846970

 Audiobook, narrated by Kaufman and Kevin Theis https://www.amazon.com/My-Life-as-an-Extra/dp/B076FGKFQC

MY LIFE AS A STAR:
https://www.amazon.com/My-Life-Star-Romantic-Comedy-book/dp/B07D9TRGK9 

LEON COLE:
IMDb: https://www.imdb.com/name/nm13647800

INSTAGRAM – Acting account:  https://www.imdb.com/name/nm13647800

FACEBOOK – Acting account: https://www.facebook.com/profile.php?id=61552068711854