The New Movie Magazine (Jan-Sep 1935)

Hollywood's Most Successful Extra You can be a success as a Hollywood extra — if you have what it takes. Gwen Zetter, herself a top-notch extra, tells you what that is By GWEN ZETTER As told to Eric L Ergenbright FOREWORD: "I want to interview the most successful extra in Hollywood," I told Campbell McCollough, the new chief of Central Casting. He gave me the telephone, number and addre^ ^ Gwen Zetter. Having made an appointment, I visited her in her home. She is a girl of whom the motion picture industry ■may well be proud, and I am frank to say, after talking with her for an hour, that I am puzzled to find her an extra, while so many others, decidedly inferior to her in both beauty and intelligence, have reached stardom. I have heard thousands of extras bewail their lot. The officials of Central Casting repeatedly have told me that they are unable to supply enough work to keep their thousands of registrants in food and clothing and shelter. But from Gwen Zetter I heard the other side of the story. Her success deserves the more applause because it has been won in the face of tremendous odds — but it does not mean that the average girl can earn a living as an extra. Gwen Zetter is not an average girl. I EARN my living by working as a motion picture extra. I don't pretend to be an "actress," and don't profess to have "talent." I'm just an extra — but I'm one by choice, and I wouldn't trade jobs with any one of the salesgirls, stenographers or secretaries whom I know. Too many tears have been shed about our lot. Too many articles have pointed out "the pitfalls that lurk in Hollywood for the extra girl." Too many writers have exercised their flair for melodrama by picturing us as the despised victims of mistreatment on the studio sets. Of course, with so much smoke, there must be a fire. I know that I have been unusually lucky. I know that for every extra who earns a decent living, there are many who barely exist. Our "business," like all others, is desperately overcrowded. There are nearly ten thousand of us, all registered with Central Casting, all absolutely dependent upon our work before the cameras, and all competing for employment which would be insufficient for half of our number. Naturally, the majority must fail in the competition — and Central Casting, realizing the conditions, not only refuses to register new applicants for extra work, but is systematically trying to weed out the least suited just as fast as employment can be found for them in other fields. Yet the fact remains that the girls who are best suited for extra work — Who have the best physical assets and the best mental attitudes — all earn good "living wages." I have been an extra for the past three years — notoriously lean ones in Hollywood — and I have not only lived very comfortably, but I have also managed to save money. I have had a great amount of leisure between jobs and I have gone to school. I consider the three years well spent Certainly, I have gained much more than I did during the three preceding years, when I worked steadily, at good salary, as a modiste's model. But I have been unusually lucky! Before telling of my own experiences, it is necessary to explain a few facts about "the extra game." All who are registered with Central Casting are classified as either "atmosphere people" or "extras." The former, who need not be entirely dependent upon studio work for a livelihood, receive a minimum wage of five dollars per day; the latter, who are defined by the Motion Picture Industry Code as "Those who by experience or ability are known to be competent to play group or individual business parts and otherwise to appear in a motion picture (Please turn to page 52) To start with Gwen had a splendid wardrobe and, in the bargain, beauty to rival that of many a star. Even so, the road has been none too easy. What would your chances be? 18 The New Movie Magazine, May, 1935