I love cars. I really do. I’ve had lots of car-related experiences since my daily driver is a ‘68 Mustang fastback that I’ve had since 1993. What can I say? She’s a dude-magnet. She also has a mind of her own.

So, when Jen and I were brainstorming about characters and stories, it was natural for me to bring up the fact that our next Hollywood Heat Series book should have something to do with cars and stunts. And I offered up this one time when I was in my Mustang and there was this hot-looking guy with a ‘67-’68 TransAm broken down on Burbank Boulevard next to Woodley Park. I stopped to offer help… And now Driven to Distraction has a Chapter One inspired by what I wished would’ve happened instead of the boring reality of, “No, it’s okay. My car’s fine now, but thanks anyway.”

Plus, during my second time on Starsky & Hutch, I kept calling Jen on my cell phone and couldn’t stress enough how incredibly awesome it was that I’d gotten considered to be a precision driver for those two days. It was a life-altering event for me! She and I knew we had to put at least a little of all this in a book. (There are actually several Tales that inspired scenes, bits, etc.)

I’d always dreamt of taking a stunt driving class, but it took my wonderful husband to make that dream come true by getting me a gift certificate.

Well… Things didn’t turn out as marvelous as I’d hoped.

Click here to read the story. And let me apologize in advance for it’s sort of haphazardness. I assure you, it’ll get clearer and start to make more sense eventually.

There’s more than one installment to my past stunt driving experiences and there will certainly be plenty more posted here in the future.

I’m going to go all the way back to the beginning on this one. I’ll try to be as brief as I can, but the path was a fun one and I hope to impart some of that mirth while relating this story.

In college, I discovered the theatre…as a technician, not an actress. After sampling carpentry, sound, and props, I settled in on lighting. My first gig as a Lighting Designer was also my first gig as Master Electrician and Light Board Operator. My boss had faith in me and coached me along and I must say that that ballet turned out great.

At that point, I’d become the ultimate lighting tech. I’d work on any show…sometimes for free, because I didn’t have to worry about rent. I still lived with mom and dad. But my love for the theatre was what brought me to the Los Angeles area because there just wasn’t a whole lot of opportunity where I came from.

So, in college, I continued my lighting career, landing a job at a manufacturer of lighting filters. This was my first real job and it also gave me my first exposure to the world of TV and film. It was my job to find out who was filming what and go there to talk to the crew. It was sort of a sales job without the hard sell. And I got to hang around on set, watching and learning. It was great.

When that job’s description changed, I switched gears and went to work at a small studio as their Lighting Equipment Repair Technician. I loved it. But then September 11 killed the economy and I ended up out of a job.

A bit angered at the entertainment industry, I left to work for a company that manufactured racing engine parts. But I always felt that I was in the wrong place.

My husband needed a hand at his agency, so I went to work for him. Well, sort of. He’d started a subsidiary company and that was the desk I occupied as the office anchor. It was great because by this time, Jen and I were working like crazy on Lover’s Talisman. I wrote quite a few scenes while I was ‘at work’…because there wasn’t any other ‘work’ to be done.

Eventually, I blew the whistle on that, wanting to get back into the entertainment industry somehow, too. But I had zero contacts by this point. All the guys I used to know either had different phone numbers, moved out of state or switched professions themselves. And it’s nearly impossible to get in unless you know someone. So what was left? Background Acting, of course.

All one has to do is sign up…So I did. The pay sucks big time, but non-union, there’s lots of work to be had…especially if you’ve got a huge wardrobe like I do. I’m a thrift store queen and can costume up in clothes from the 1960’s through right now. From homeless to ultra-rich. I’m not a fashion fiend…Jen can vouch for that! I just like clothes.

So, I started going out on shoots and discovered that there’s plenty of down time. In other words, I could still keep up with Jen on our writing. And on a day-to-day basis, I met all sorts of interesting people and got all sorts of story and character ideas. Each day’s work was more like an adventure than anything. For me, it was the perfect job.

I got started at the end of January 2003 and worked like crazy until we started heavy editing on Lover’s Talisman in July. Then, Jen and I were really hittin’ the writing and I couldn’t go out on as many gigs. That obviously gave me more time on my hands in between working on Magic In The Works.

My goal by this point was to get into SAG [Screen Actors Guild] because the pay was better and I could work less in order to write more. Well, luck was in my favor because I have three pre-1975 cars and Starsky & Hutch was in desperate need of one of them. So much so, they were willing to give me SAG vouchers to work on the movie. I jumped for joy when I got that phone call!!! I’d worked on it a couple days in April, but when they called me near the end of production, it was a totally different thing because I was being paid union rates. And those second two days ended up being a turning point for me in more than one way.

That following week, I visited one of the casting agencies that had booked me a lot on Carnivale. Armed with photos of myself and my cars, I put on my best smile and placed the photos in the hands of a casting director. She was so happy, she nearly fell out of her chair. She was casting Anchorman, which also took place in the early 70s. I ended up working at least one day a week for the next 9 weeks and managed to make enough money and SAG vouchers galore to get into the union.

That was September 2003 and I don’t think I’ll ever give up on extra work. It’s certainly not for everyone. The hours are very long. The conditions get questionable from time to time and there’s just nothing like spending a freezing cold windy night in a thin short-sleeved dress while the crew is wearing down jackets and telling us extras not to shiver when the cameras roll.

Yeah, we extras are the bottom of the food chain, literally, but I swear we’ve got one of the hardest jobs on set sometimes. Some days are spent waiting in boredom for 8 hours only to work for 1 and then go home. Others are fifteen hours of walking back and forth doing what I’ve come to call background pinball across frame all the while trying not to look like the same person each time we cross frame. Every day is different and for that, I’m so glad!

If anything, I hope my adventures in Hollywood make for good reading. No matter how crazy, they are all true. Some are so weird that I couldn’t've made them up even if I’d tried! I hope you enjoy.

The title of this feature film changed a few times during the booking-through-shooting process. I believe the word “Stan” was the only word that did not change, but I didn’t want to title this entry that simply. It would’ve felt weird, I guess. I dunno.

What I do know is that Los Alamitos is a long way from where I live. Even without traffic (thank goodness for an 11:30AM call time!!!), it took almost an hour and a half to get to the location. I always give myself about 2 hours to get where I’m going unless I know I’ll be an hour and forty-five early. In those instances, I give myself a full hour just in case. Sometimes, the simplest shoots turn out to be an adventure just finding the set.

Needless to say, I got there a little early so I sat in my ‘68 Mustang fastback (the car they’d booked for the show) and read further into _Theatre Lighting in the Age of Gas_. Limelight and caron-arc fascinate me.

After getting a little lost in the motel complex, I found the catering area and had myself some breakfast while awaiting the usual doling out of vouchers followed by the inevitable escort to wardrobe. It was a small call. Only seven extras, most of us with old cars. The scene we were to work on took place in 1979.

And I wish I’d known it was supposed to be 1979 before I got there. The recorded information just said, “Bring 70s clothes. Do the best you can.” Well, when they say that, they don’t assume that I’ve got essentially the contents of a wardrobe trailer in my closets and can usually pinpoint the exact year back to 1968 or so. Most of the “70s” shoots I’ve been on want the ‘70-’75 look, not the late ’70s look. Ugh. I had all sorts of great stuff I could’ve brought, but figured they wouldn’t use it.

Oh well. The costumer was okay with my light blue T-shirt and wraparound denim skirt. It wasn’t the best outfit, but it certainly wasn’t the worst.

It took awhile to get through hair and then make-up because the principal actors were also in the trailer, but I eventually emerged with a wacky hairdo and pink lips. All was well except that it was a little cold due to the sea breeze. The ocean was essentially across the street.

I worked the very top of the day. Me and another guy walked through frame maybe six or seven times. Just enough to make my feet tired of standing in my heels. (A favorite pair of mine, no less, that I usually have trouble matching to outfits because they are multi-colored in red, yellowish, blue and green while most of my ’70s clothes are brown and beige. They probably didn’t really match the outfit of the day, but since I was wearing a denim skirt and they were cute shoes, all was well.)

Okay, now we get into the rest of my day…

I read my book while sitting in holding. Occasionally, they had me pull my car into frame and park it, but out of the five times they had me do that, I had to pull it back out four times. They did finally use it in the last setup, though. I was beginning to wonder.

Regular day. Not much action. Not too bad overall except I was a little cold.

Why is it that 5:30AM call times feel eons earlier than even 6AM call times? Is it because for some reason getting up at 4AM is that much later than 3:30AM? I just don’t get it.

Anyway, I was a college student on The Great Buck Howard…except that I don’t think I’ll make it in the movie during the two scenes I was there for.

This was part of an opening montage-type group of fast scenes. I never made it into the first scene. I was always standing in line, waiting to go next, but they always cut just before I’d step into frame. Oh well. I don’t get irritated over that kind of thing. I’m there to do a job whether or not I make it on camera.

In the next scene, I was ultra-deep background. Why does that keep happening? I have no idea. Once again, I don’t care, but it does get a little annoying or maybe I’m taking it personally like I think they think I’m ugly or something… Just kidding. I mean, really, who wants to be waaaaaay in the back when all the action is happening a hundred feet away?

But I did my little cross anyway. If they use the tail end of the takes, I’m right there in the middle of the frame almost. Me and all the real UCLA students who were going to class.

Yeah, they didn’t shut down the place. They put up signs that said essentially, “We’re filming a movie. If you walk here, you might be filmed. If that bothers you, don’t walk here.” Honestly, having the real students there did fill out the scene quite well. It’d just be weird to go see the movie and learn I was in it while heading to my Underwater Basket-weaving class.

After those two scenes were done, they had more to do, but I was free to go…and glad for it. That was two short gigs in a row. I’m guessing the next one will be 16 hours… My luck has to change soon.

Been a little while since last I got to go out with my Viper.

I was on Entourage for my second time. We assembled at base camp and then headed up to the location. It was some sort of religious house (a sign read “A quiet place for priests to pray” or something like that.) that was doubling for the exterior of a school.

This is the second time my Viper has been booked as a parent’s car. What parent picks up their elementary school kid in a Viper? Not many. Not many. It was very weird for me to be there amid all the 4-doors and SUVs. But whatever. At least they didn’t completely turn up their noses at me.

They were even going to have me drive through frame, but, like duh, how about not the Viper. Finally! I mean, I knew I would end up parking the car and walking through frame. It’s always a matter of time. I never go to these assuming I’ll be driving.

I was given two fake kids. We did a couple variations on our crosses and then my day was done. I think I worked a total of about 4 hours. Not too shabby.

And I don’t even really have anything about the show to report. I couldn’t hear any interesting dialogue and the scene was so short, there probably wasn’t much going on other than all the kids getting to school.

The budget was low, but the talent was way high. I was an “onlooker” on a feature called Winged Creatures.

I was early. I parked. I got shuttled. I found holding. I ate breakfast. I was forgotten.

I ventured forth to get my voucher and almost ran into Forest Whitaker because I was looking at the ground rather than where I was going. Wardrobe squared me away. I changed into something more boring. I went back to holding.

Where I waited for a few hours. I’m still reading that book about the Wars of the Roses. I thought I’d finish it during this gig, but I actually worked this time.

Or… Well… Here’s what’s kinda weird. And this was a surprising first.

During the first scene I worked, I didn’t know I was actually working. They grabbed all the onlookers, brought us to set and placed us. I ended up the deepest, but I was standing on the ledge of a planter with a tree in it. I thought that was kind of fun. I’d never been elevated above everyone like that before.

But then as I waited for the scene to start, I got bored and started making laps around the tree.

No, I’m not kidding. I was walking around in circles because I was bored and it was kind of cold outside. Around and around and around. I was practicing keeping my balance on the 5″ wide ledge while not looking down at my feet as I walked. Around and around and switch directions and around and around.

Then, the AD called lunch. Huh? Whuh…What?

As I headed toward catering, I asked some of the other extras if any filming had happened because we’d been out there for a couple of hours. Apparently, in the background of Kate Beckinsale, the director wanted us extras too look natural as we struck up conversations and stuff. All the while I’m learning this, my head’s about to explode! They were filming while I was doing laps around a friggin’ tree!!!!!

I never got yelled at for it so I’m assuming that either they couldn’t see me or I was so deep that the movement didn’t look stupid. I dunno. But my mind is still reeling from learning that they were filming while I was walking around a tree.

Yeah. Nice.

After lunch, though, they started cueing us and I got to use my stupid walk around the tree and hop off to move closer to the action. During the course of that, I ended up directly in the path of Jeanne Triplehorn and Dakota Fanning as they left the hospital we were working in front of. That was pretty cool.

And thank goodness I wasn’t still walking around that damn tree!!!!!!!!!!

This was one of those gigs I really gotta laugh about, though. I mean, I got paid to walk around and around a tree. All I can say is wow, I love Hollywood!

First gig of the year, can you believe it? I barely can.

Anyway, I was booked as a ‘prisoner’ on Jericho. When I got there, I discovered I had a new distinction as one of the ‘new’ prisoners. I figured whatever that meant was more likely that I wouldn’t be recalled. No big deal. I rarely ever am.

I parked. I was shuttled. I ate breakfast. I got my voucher. I went to wardrobe.

The wardrobe girl was awesome. Lots of energy and way cool. She like what I was wearing, but needed to give me a coat because us prisoners were supposed to be dirty and she’d have to dirty up the coat. As soon as she said dirty, a million red flags went off in my tiny little brain as I flashed back to the head-to-toe fake dirt dusting I got whenever I was on Carnivale. It was always so bad that I was blowing it out of my nose for, like, three days after the shoot. ‘Course on Carnivale there was fake dirt and tons of real dirt, too, because we were usually shooting on dirt lots or on stages with dirt dirt covering the floor.

I was given a leather coat and instructed to go stand in the hair and make-up line. (There were about thirty of us there. Not a huge call.) While I was in the line, a sweet girl came running up saying I needed to go back to wardrobe because they accidentally gave me her coat. Whoops! They were all apologetic and I really didn’t care. I kinda thought it was funny. Plus, I didn’t really like the leather coat. It was stiff compared to the ratty one they gave me instead–which was already pre-dirtied. That was nice.

In the hair trailer, the lady put some goo in my hair to make it look oily and dirty. Then, the make-up guy dusted me with dirt-looking powder. Face, neck and hands.

I was now ready to go.

And I was brought onto the set almost immediately. I grabbed my book (I’m still working my way through a book about the Wars of the Roses. I haven’t had much time to read lately.) and headed through the mini-backlot and onto a soundstage where the prison was set up. Following instructions, I parked my ass on a bench in a cell…and started reading while I waited for the festivities to begin.

I’m pretty sure the camera couldn’t see me at all during those takes. Whatever. I just kept reading until we were instructed to go back to holding.

I read some more.

Finally, I was called back to the set and as a ‘new’ prisoner, I got to be in motion down the hallway.

And then the plot thickened… I was to be walking with one of the principals. I got to follow ‘Maggie’ for the next few hours. And if I don’t actually make it into episode 20, I’m definitely all over the cutting room floor because there were only about five of us in that part of the scene.

The gal playing Maggie, I believe her name is Erin, is way cool. She talked to us like we were real people, not scummy extras. A few of the high points were her excitement about how she got the fake blood that was on her shoe…squibs. It was her first time getting “shot” and she was so excited her enthusiasm was easy to share! And at one point, Skeet and her goofed off between takes and she said something along the lines of “We have lots of fun here.” I had to agree that it showed. Everyone on the crew was awesome.

The special effects guy, Tom, even introduced himself to various extras and laughed along. The A.D.’s and even the director were very laid back, but also down-to-business. These are the best kind of shoots because it makes everyone feel like part of a team even if only for a day.

During one of the tighter shots, I was even given a mark I had to hit and the A.D. treated me great. I was so glad. Sometimes, extras get totally talked down to. I hit my mark spot on every take. I hope I didn’t suck so hard that they intentionally edit me out. Whatever. I was just glad to be there and have the opportunity.

After that scene, I didn’t work the rest of the day. I just read my book or talked to other extras in holding. When I was wrapped, it had been eleven and a half hours since I’d arrived. I was glad to be leaving and glad I’d spent the day.

Ironically, as I left, the traffic sucked so hard I turned right instead of left, which sent me down the road where Blaina and Jay from Driven To Distraction met. That was a very nice ending to a long, but good day.

So, I’ve blogged about how hard I sucked at stunt driving, but this time was much different. This time, I was more confident and essentially, I realized that stunt driving is easy. My problem wasn’t the driving. It was me. Apparently, I have difficulty thinking. Yes, thinking. How so? Well, I don’t know how to answer that. All I know is that this time around, my thoughts were crystal clear and everything fell pretty much into place.

Bright and early on that Saturday morning, I showed up for class. I learned the importance of tires and various other bits about stunt driving on a working movie set. Then, it was time to go out on the course.

And I wasn’t nervous this time. Not at all. I knew a lot would be required of me, but for some reason I simply didn’t care. I just wanted to drive and learn.

Boy did I ever!!!!!!

It was raining. For me, I saw that as good luck because that’d mean it’d be easier for wimpy little me to get good lock-up. I knew that this was now or never.

We worked through the slalom and learned how to shuffle steer. I’d been practicing my shuffle steer every time I’d driven since my last class, so that was pretty easy for me. I’d also been practicing using a focal point.

Once the whole class was ready, we moved on to forward 180s. Last time, I had a helluva fight to yank up on the e-brake and get the car to lock up. This time, just as I’d suspected, because of the rain, locking up was hard, but not impossible like it had been last time. My arm started to hurt, but I didn’t care because I was finally able to get lock-up and and throw the car around. I know the teacher wanted us all to finesse these to perfection, but honestly, I didn’t care what he wanted. I just wanted to get the damn car to come around. I’d worry about the finesse later. Any amount of progress was more important than finesse.

The next day, we continued our forward 180s left and right and then went into sliding 90s. Y’know, when you slide into a parallel parking job coming at it from the side.

My arm hurt so bad, it went numb and didn’t always work. But the rain continued and I still got good lock-up. Once again, I know the teacher wanted us all to finesse the car right in the middle of the coned-off box, but I was satisfied with just getting the car fully in the box. Whether I was forward or back or side-to-side didn’t matter. Just getting it in the box was progress enough for me.

And that took awhile. For some reason, the whole class had started having trouble with our forward 180s and that sort of crushed our morale I guess when we went into the 90s.

But eventually I got it. And then the miracle happened… I started to really understand how to ‘feel’ the car. That’s what Jay and Blaina do when they’re driving. I’d been feeling it all along, but hadn’t been able to really understand it. I hadn’t been able to read it well enough to adjust my input to get a perfect run as a result. I’d come flying at the cone gate for the 180 and be so concerned with getting lock up that I’d forget to crank the wheel into the turn, or I’d turn it too far, or too soon. In the 90s, I’d fly toward the cone box too fast or forget to let go of the wheel once I tossed the car into the box.

This was the day that really had me start asking myself, “What would Jay or Blaina do?” I sometimes even dropped into one of their characters, asking them for advice. I like to think it worked, too!

I can’t say that I’m any good at stunt driving. I can’t say I’m consistent. But I can say that I know what I’m trying to do and learning how to read what I feel in order to make the stunt happen correctly.

Once I realized that, I sort of looked back at the day and a half and was so satisfied with my performance that not only did I not care if I never quite got the finesse right, but I also didn’t need to take the test at the end to be satisfied with what I’d learned.

However, the course was wet and slippery enough that I knew I’d be able to get decent lock-up. And that always seemed to make the difference between executing the stunt correctly or failing miserably. If I was going to pass at all, it would be during this class, so I decided to go for it.

After more practice of the slalom, forward 80s and sliding 90s, we moved on to reverse 180s.

Sadly, I never quite mastered them. I learned a new technique–well, order of actions–from one of the instructor’s assistants which I put to good use and excelled way beyond how I’d fared in my last two classes. But more importantly–I thought, anyway– I figured out on my own what I was doing wrong just before the teacher told me. For some stupid reason, I kept forgetting to let go of the wheel and let the car right itself. Oh well. It’s something to work on in the future.

At the end of that second day, it was time to test. We practiced and I knew I was going to pass. I just knew it. I didn’t allow myself to practice into the ground because I wanted to save my poor little arm and I didn’t think I’d be getting any better that day anyway. I had the confidence. I knew I’d pass. I knew I could make it happen.

So, when the moment was upon me–finish the course in 59 seconds or less–I took off on a practice run…

And screwed it up so badly that I was thankful to take a second practice–which was close to perfect, but I didn’t quite get the car all the way into the final box. My time was good, though…50-something seconds. I wasn’t really worried about timing. I was worried about keeping the car between the cones without touching any of them. Well, and just plain surviving the course!

But now it was do or die. I had to do a passing run on that third one or I’d fail again. Well, before I took off, I congratulated myself for actually testing this time. I didn’t even bother testing last time because I knew I’d fail. This time, I knew that even if I didn’t pass, I’d learned so much and had come so far. It didn’t matter anymore, really.

But deep down, I still wanted to pass. I needed to pass.

I slalomed through the cones, grabbed that e-brake with all my might and whipped the car into the 180 to the right. Slamming the brake back down, I took off right through the center of the cone gate, while resetting my focal point and then yanked the e-brake and tossed the car into a 180 to the left. Dropping the brake and smashing the gas, I had to cheat and use a little main brake to slow the car after locking it as I skidded into the box for the 90 to the right. I waited for the “go” once the guys were sure I was in the box without hitting cones. I gritted my teeth and set up for the reverse 180–trying to make myself believe that it wasn’t my weakest maneuver. I stomped the gas, then as I whipped the wheel, looked back for my new focal point and rammed the car into drive. I still forgot to let go of the wheel, but I didn’t care because I didn’t hit any cones. I blasted toward that final box and threw the car into it to the left.

And waited.

Nervously.

To find out if I was in the box all the way.

And if I’d made it in less than 59 seconds.

My heart was beating a mile a minute and I suddenly realised that I’d done it. I’d made it all the way through the course.
…And I had the fastest time in the class: 46 seconds.

Wahoo!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! All I could think of was, “GO ME!!!!!!!!!!” on so many levels, too!

I hadn’t been on a big call in quite some time, but this one wasn’t half bad. Or maybe I just kick into survival mode and somehow the massive throng of extras ceases to bother me. Or maybe it was because I now know that if I forget everything else, I must bring a coat and a book to read. Those were my saviors this time.

I was part of a gay pride parade. WooHoo! This is why I love extra work. It exposes me to things I might never have experienced otherwise…

I got to wear most of my own clothes. They gave me a totally awesome burgundy tanktop that fit me like a glove. I brought a very loud pair of pink/purple floral bellbottoms. They put a pink bandana on my head and I put on my burgundy Chuck Taylors. I was all set. I whipped out Crazy Wild by Tara Janzen and turned to page one.

Shoots in downtown LA can be hell sometimes. Usually just getting there is an adventure in itself. This one wasn’t so bad because I didn’t have to be there until noon and most of the traffic had dissipated by then.

After chowing down a doughnut, I boarded a people mover to the set. We sat in holding for a little while and I read a few more chapters. (The book kicks ass! I read Crazy Hot when I was on Numb3rs… The whole book. In one day. I hadn’t done that since high school. It was sooooo good.)

Then, it was time to shine… I grabbed my army green coat and readied my best, “Don’t worry, I’ll stash it when we’re rolling” line for when the costumers inevitably requested I leave it in holding. (I never leave it in holding because then I literally freeze…and that makes me an unhappy extra. There’s only one thing more annoying than an extra: a grumpy one!) Over the years, I’ve mastered the art of hiding a jacket on set where the camera can’t see it.

Initially, I was marching in the parade, but they needed more spectators and I got moved to the sidewalk. That was fine with me. I’ve spent my share of gigs walking forward, resetting, walking forward, resetting, walking forward, resetting. Standing in one spot sounded pretty good to me. I read a few more chapters and huddled in my coat while newbie extras looked on in silent (and some not-so-silent) envy. The serious ones will learn and adapt. I wasn’t the only one with a coat or a book, but as far as I could see, I was the only one who’d brought both!

All in all, not a bad day. The costumes were colorful. The gay pride was contagious. I had a blast!

Yes, I saw Adam Sandler and Kevin James. They were at the front of the parade waving at everyone.

Between takes, I was talking to the girl next to me and as Adam walked by, he added a line to our conversation and we both thought that was really nifty cool. And then it hit me…

I got in my wayback machine and a certain incident washed over me in frightening waves…

About six or seven years ago, I was a seatfiller at a bunch of awards shows: at one of which, Adam Sandler was there to either present or receive. Being a good little seatfiller, I went into a row where there was an empty seat. The people around the empty seat said that the person sitting there would be right back. I replied that I’d sit there until that person returned. That was my job. Well, when the guy returned, the commercial break was just about over and I had to make my way out of the row.

Which, oddly included getting past Adam Sandler. He’d shown up and sat down while I was in the row. Now, normally I’m very sure on my feet and I stealthily slide past everyone else in the row. Well…not this one time. Nope.

I tripped.

And did a face plant right into Adam Sandler’s lap. Literally. Like, he was wearing beige pants and my forehead was somewhere near the button on his waistband. I still remember the horror…even as I’m writing this, I can still see the cotton fabric and the pocket.

I have never been so embarrassed in my entire life.

He looked at me like I was insane. I felt like I was insane. Apologizing profusely, I regained my footing and got the hell out of there as fast as I could. I really wanted to dig a hole and crawl into it. I was honestly that embarrassed. It didn’t even matter who he was. Tripping that hard into any guy’s lap is a mortifying experience for me if I don’t already know the guy!

I’m just glad to see that I didn’t crash and burn so hard that he remembered me and ran away screaming while on the set of this movie.

When I found out my call time was 6PM, I assumed it was going to be a late night. Since crew call had been 9AM, I knew I wouldn’t be there all night, but definitely late because it was a Friday.

I arrived at the parking lot and hopped on a shuttle. No surprises there. The driver and his friend were talking about a friend of theirs who was having girlfriend trouble and I really, really, really wanted to pipe up/offer advice/commiserate, but I refrained. I’m just an extra…

That night, I was going to be a townsperson. The wardrobe was supposed to be rundown small town casual given the premise of the show. I was in heaven because, for me, that meant even though it was a night shoot, I wasn’t going to freeze! This was one of those calls when spaghetti strap mini-dresses weren’t what all the girls were supposed to wear and goodness was I thankful.

In fact, when I went through the wardrobe line, she loved what I was already wearing. I didn’t even have to unzip my bag. My dirty-grey Levi’s, shaggy blue shirt with lightly frayed flannel shirt are usually the costumer’s delight when I play downscale characters.

Anyhow, after that, we were herded into holding and I busted out my Palm Pilot and wireless keyboard to get a little writing done. (I wanted to really dissect my stunt driving school experiences and writing them down is the best way for me to do that. Plus, I wanted to cull my notes for Book Two of my <a href=”http://http://rinaslayter.com/books/otherness-rift” title=”Otherness: Rift by Rina Slayter”>Otherness Series</a>]).

I ended up tickling my keyboard for about three hours before the PA came back and signed us out. Apparently they were going so slow that night that they weren’t even going to get to our scene. No worries. I got paid a full day’s wage for doing all that writing. I can’t complain about that.

Plus, the people on this show were really awesome. They even let us have pizza from the craft service table. All in all, a great night. It would’ve been nice to work on set, but whatever. At that point, I was pretty into my writing, so I wasn’t upset about not getting to work. Besides, this makes up for some of those days that are non-stop, never-get-to-sit-down, action. Life is great. I can’t wait until my next gig!