![]() First, he goes back to lying on his back, with a camera filming from above, perfectly perpendicular to his face. Sets are changed, and Tom is being directed to relay lines from disparate scenes, and to try his deliveries beneath different camera angles and lighting rigs. Um, sit closer within a real movie set, to watch one of the most prominent contemporary film and stage actors perform some heroically dramatic scenes, for the camera? Okay. to sit in director’s chairs, closer within the closed set. That’s great! I don’t think I’ve seen him in anything…I guess he’s Loki though?” We stay silent for the set changes, and we are asked by a P.A. J is a little perplexed but is trying to be supportive “Um. “That is one of my FAVORITE actors in front of us! I love him! He’s a vampire! In a Jim Jarmusch movie! I love Jim Jarmusch! I love that movie! He is SUCH a great actor! He is so cool! Oh my God!” J, the model, is standing next to me, and whispers, “Hey, are you…okay?” I professionally whisper-shout back while pseudo-hyperventilating, because of my sheer extra-ness. My jaw is open and I am smiling and not even realizing my uncontrollable change in body language. I try to think of who of my friends or acquaintances it would be? I don’t know anyone British! I don’t know anyone here…why do I know that voice though? I DEFINITELY have heard that voice before. ![]() The voice is British, and, also EXTREMELY familiar to me. I hear the man speak again, this time saying “Thank you, thank you very much, for, helping me,” as the cameras are still rolling. Let’s try that again, but next line.” The man on the ground gets up, and he is clad head-to-toe in different shades of black material, in a very sleek, almost silicone-looking form-fitting skinsuit. The person that is gasping stops periodically, and then does it again, with everyone watching stoically. I trace the sound to a person lying down, and they are in front of a handful of large cameras and light rigs. When I notice the silence, that is when I start to hear someone gasping for air, almost like they are drowning. And then I notice, not a single person is talking, and though the room is huge and there are a few groups of people present, the sound is completely silent. Bags and boxes and props are organized, labeled, and placed everywhere around us. On the right side of one set, there are a multitude of bright white hot lights, and lots of Arri Alexa cameras held by a few different crew members. I see wooden sets in front of me, divided by fabric, and thin-looking movable walls. ![]() Places within the blue screen are periodically marked with fluorescent pink and hot green neon tape. There is a giant industrial-blue fabric hanging on a rod, attached by loops and being slowly rotated about the room. The soundstage is humongous, with high ceilings, and almost feels like a warehouse. The casting director, still leading us, is automatically sent into set, with the 5 of us extras trailing behind like a link of kindergarteners following their teacher (but not holding hands - instead, holding our elaborate costumes up, so as not to trip on the numerous cords on the floor we come into contact with.) Suddenly, I realize I am in one of the biggest rooms I have ever been in. We are led through a door from the outside heat into a very small square-shaped and air-conditioned corridor, next to a restroom and facing a security guard, who is holding a wand and guarding a second entrance. (Continued from Part 1 of 2, “It Smells Like Halloween: Transforming into a Rainbowy Sakaarian for Marvel’s Thor: Ragnarok”)
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