It’s no secret, most of us creatives, love being on set. It’s where that layout pad idea you scribbled months ago finally takes shape. Real shape. And it doesn’t matter if you’re shooting stills, video, claymation, behind-the-scenes, social or anything else.

Being on set feels like the pointy end of a project.

Personally, I’ve always found it “fun-stress”. I’ve learned to tippee-toe along the client-director-talent tightrope. I’ve got war stories of managing outrageous amends, expensive last-minute extra shots and weather day nightmares. So, it was sad when the AI invasion, budget slashing, ageist, Trumpy downturn saw everyone’s time on set slashed in the last few years.

Which makes it particularly ironic that, in the last six months, I’ve spent more time on set than ever. Let me explain.

Like lots in the industry, I’ve been looking for side hustles – productive ways to spend time and generate extra income. Everyone’s different. I know a creative director who’s reconditioning photographic equipment and selling it for profit. There’s an industry recruiter who’s launching a fashion brand. And I know multiple art directors who are modelling and acting (they were always better looking than us wordsmiths).

As for me, I’ve spent time as a journalist, a teacher and even written a film. Then as part of some recent research, I rediscovered Ricky Gervais Extras. To quote Rocky Ranallo, I decided, “I could do that.” I took some profile shots, built a comp card and signed with an agent.

That’s when I learned what being on set is really like. Forget what you think you know, when you see how TV series and Hollywood shoots work up close, you realise how much we get wrong.

Adland versus Hollywood

It’s no surprise, Hollywood has more cash than us. But what is jaw-dropping is the magnitude.

I’ve seen an entire house covered by a 4-story green screen. I’ve seen an entire Sydney street re-skinned – the pub, the corner store, the park, all of it. I’ve seen a traffic jam of US vehicles imported for a single shot – police cars, fire engines, ambulances. Forget having one assistant director, there’s a minimum of three. Those cheeky Easter Eggs you want to hide in your ad, they’re mandatory in Hollywood. Every key talent has a stand in for when the crew is adjusting lighting and framing. On one shoot we had a crewmember whose only job was to spot any extra taking selfies and throw them off set.

There’s a thoroughness here which I’ve never experienced on an Adland set. There’s no adlibbing. Nothing’s left to chance.

Adland versus TV series

By contrast, TV sets are more pragmatic than us.

There’s no shooting “One more, for luck”. You won’t hear, “Let’s shoot the shit out of it”. With a shot list timed to the minute, they’re run with military precision. Once the director is happy, everyone moves on. I’ve seen crew race to get the shot before a deluge (they did). I’ve seen explosion scenes which had to work in a single take (they did). I’ve seen lead actors asked to wait in position while the crew faffed around (they did).

Given the cast and crew work together for months at a time, there’s a level of trust you simply won’t see on our sets.

Adland versus Adland

It surprises me how different individual Adland sets can be. From watching on a split as the writer to facing camera as an extra, they’re all different. Some tense. Some relaxed. Some scrimp on everything from wardrobe to catering. Some treat extras like gold. For others, we’re just movable props.

Truth is, even when it’s bad it’s still pretty good.

Who’s your agent? A small shameless plug

Just like agencies, not all agents are created equal. On set, we extras have lots of time to compare how and who represents us. Mostly by chance, I chose the best. If you need an extra (or want to be an extra), connect with Miriam Spry and the iSpry crew on info@ispry.net.au. They love everything from mass briefs to tricky singles – recent wins include everything from Actual Welder and Dead Body to Chess Player and Hipster Barista.

Oh, and if you need me, I’ll be in my trailer darling.

Rob Morrison is a rarity in advertising – a grey-haired creative. Rob’s experience includes time as a Creative Director at Ogilvy, BWM (now Dentsu Creative), George Patts (now VML), Campaign Palace and Wunderman. He now runs his own consultancy – morrison.collective.

Here are two more opinion pieces from Rob Morrison:

Cover image by Azahel Calzada De La Luz