10 Secrets of User Experience Designers

iStock/RossHelen
iStock/RossHelen

While you may be able to recognize and appreciate the work of graphic designers, fashion designers, and architects in your everyday life, you may not think too often about experience designers. But user experience (UX) designers have a huge impact on the products most of us use every day, especially digital products like smartphone apps and websites. A UX designer is in charge of how you interact with a product and the overall experience: What features does it offer? When you click a button on an app or website, where does it take you? Can you find that button? How many clicks should it take to put in your credit card information or sign up for a new account? How easy is it to figure out how to share a link or invite a friend? It’s a UX designer's job to figure that stuff out.

Mental Floss interviewed four people who work as UX designers to find out more about their job. Jonny Mack, a Seattle-based freelance designer, previously worked at Google designing products like Chrome OS and has since worked on projects such as Coinbase Wallet, a cryptocurrency app. Rob Hamblen is a design director at the Berlin design agency AJ&Smart and has worked with clients like Adidas, Twitter, and Mercedes-Benz. Talin Wadsworth is the senior UX design lead for Adobe XD—the user experience design software that UX designers use to create prototypes—and Nina Boesch is a senior interaction designer at Local Projects, a New York-based studio that designs (among other things) museum experiences for institutions like the American Museum of Natural History.

Here are 10 secrets you might not know about the job, from the user features UX designers hate to the reason they hope you never notice their work.

1. THE DEFINITION OF A UX DESIGNER VARIES A LOT …

Not everyone who works as a UX designer has a similar job description. Some handle a wide breadth of tasks, from coming up with product features to prototyping to designing user testing to writing code. Others might be more specialized, overseeing other designers, researchers, and engineers as they work on individual aspects of the design process. Some are also involved in user interface design—known as UI—creating the visual look and feel of a product. “The range of skills across UX designers is pretty varied,” Mack explains. “Some people call themselves UX designers and they’re extremely technical. They’re actually doing a lot of engineering and front-end development. There are other people who call themselves UX designers who don’t write code and don’t even design much, who are doing a lot of research and usability stuff.”

"At a startup, I would define a UX designer as a generalist,” Mack says. “They would be working with a product manager and an engineer to define what the product even is.” They will help figure out what features a product will have and what features it won’t have, and might create a prototype. They’ll do interviews with potential users, asking them to test the prototype to determine whether people can actually use it as the designers envisioned. They might even be writing the code and designing the interface of the site or app.

“In a large company like, for example, Google, you had specialists for each of the things I mentioned,” he explains. There would be a dedicated usability researcher who would conduct those interviews and user tests as well as a team of prototypers and visual designers who would actually make the product, among other roles. In that kind of environment, the UX designer acts as more of a manager, helping determine what the product should be and guiding the project through the creation process.

2. THERE ARE A LOT OF MEETINGS.

Designers don’t spend all day at their desks sketching out ideas. It’s an intensely collaborative job—sometimes to a fault. “When I worked at Google,” Mack says, “I spent very little of my time actually designing—probably four to six hours a week at most, and that time happened either early in the morning, late in the evening, or on weekends, because all day was filled with meetings.”

Wadsworth, too, spends a lot of time meeting with other people rather than working on his own. His team typically has daily check-ins or critique sessions together. “The perception of the lone designer is not true,” he says. He tries to carve out an hour here or an hour there to work through ideas on his own, but says the rest of his time is spent collaborating and talking about ideas in meetings or on Slack or during formal research sessions. For him, that’s not a bad thing. “Some of my favorite moments are when someone’s passing by and I just grab them and get them to give me their take on something—that’s where a lot of the more ‘aha’ moments come from.”

3. IF THEY DO THEIR JOB WELL, YOU NEVER THINK ABOUT THEM.

The UX designer’s role is almost entirely behind the scenes. While you may admire how pretty an interface looks, you probably don’t think too much about the process that helps you get from Point A to Point B in an app. And that's a good thing.

As Hamblen puts it, “If you have done your job properly, you can design an interface where the user has no friction whatsoever. If the UX designer has done their job as well, [users] will be able to achieve their goal without thinking about it.” That goal might be buying something on a website, checking your account balance on your bank app, finding that “share” button, or otherwise understanding how to navigate the product you’re trying to use.

“In a way, we are working on deliverables, no one, other than our team or the client, will ever see,” Boesch says. “We are putting diagrams and storyboards in front of clients, we are providing our developers with wireframes and sitemaps,” but the end user isn’t going to see that work. Unless, of course, they do their job poorly, and their product or experience is hard to use—at which point a user might start to wonder what's going on behind the scenes, and why the product isn't easier to navigate.

4. THEY HATE TUTORIALS.

Mack hates to see multi-step user tutorials pop up the minute you open a consumer app, calling it “aggressive handholding.” Ideally, users should be able to figure out how to navigate and explore the features baked into an app or website without any special instruction, just by intuition and context. “I get the impetus to teach people, ‘Hey, here’s what this is,’ but you can teach people through use,” he says. “If you’re having to train people, it’s probably a failure of design.”

For instance, if you’re spending a ton of time trying to figure out how to buy a train ticket from a machine in the station, it’s the designer’s fault, not yours. “Most public kiosks, such as ticket machines at subway and train stations, hurt my eyes and my faith in the respective authorities,” Boesch explains. “If it takes me more than a minute to understand the interface and get my ticket then the UX/UI design failed. Most ATMs are pretty awful, too. In a perfect world, it wouldn't take more than 20 seconds to get money out of an ATM.”

One app that Mack says does this especially well is Todoist, the to-do list and task manager app. “It’s so simple at first glance, but it’s like an iceberg of complexity.” You might open it thinking you’re just going to write down a to-do list, but then realize you can assign priority to certain items, share them, comment on them, nest tasks within other tasks, assign deadlines and then snooze them, and more. “If I were to write all these features down in a document, you’d read it and you’d say, ‘This is the most complicated to-do app ever.’ But when you’re looking at it, it just looks simple and easy.”

5. DESIGNERS HAVE TO WORK VERY QUICKLY.

For Wadsworth, creating a new prototype for Adobe XD usually takes between three and six months, but that doesn’t mean the team is working at a leisurely pace. “The pace at which we work is pretty frenetic,” he says. While students in design school have the luxury of developing concepts and ideas for projects over a long period, professional designers have to make those decisions much more quickly. “We’ve committed to developing features every month” with Adobe XD, he explains.

Hamblen’s work at AJ&Smart is particularly fast-paced. The firm specializes in “design sprints,” a five-day, intensive prototyping process that’s designed to be an accelerated way for companies to solve a particular problem or come up with a product. In that environment, the initial UX design might need to be completed within just one day so that the design can be prototyped and tested by users by the end of the week.

6. THEY MIGHT NOT HAVE AS MANY USER TESTS AS YOU THINK.

User testing is a vital part of the design process. Designers might create something they think is genius, but if a normal user can’t figure it out, it’s worthless. But while you might imagine that a new product would be tested with dozens of potential users, in all likelihood, it’s a lot less than that. The standard size of a test group is just five people.

“It might not seem like that’s enough people, but there’s a lot of field research that’s gone into [that number]," Hamblen says. A group of five people is big enough to generate useful feedback, but small enough to support tight budgets and quick turnarounds. After two or three user reviews, you start to see patterns in the feedback, but the fifth user might not see something blatantly obvious to others—representing a population that’s not all that tech-savvy, for instance. These test reviewers are typically recruited based on what the hoped-for user base of a product, which could be something like "parents of small children," or "20- to 30-year-olds," or "people who use online banks," or any other kind of characteristic or demographic the company is looking to target.

7. THEY NEED AT LEAST SOME TECHNICAL KNOW-HOW.

UX designers often work very closely with developers, so they need to at least understand the basics of writing code. “A designer needs to understand the core concepts of code for whatever platform they’re designing for,” Wadsworth says, in order to have an idea of the constraints and possibilities of a particular product. “I myself have taken an iOS development boot camp,” he explains. “I’m not doing that as my daily job, but it helps me be a better designer.”

“You do have to have a good understanding of the tasks a developer would have to do," Hamblen says. You can create the most beautiful interfaces in the world, but if your engineers can't translate it into code, it's not going to happen. "I’ve seen designers create stuff that’s impossible to build or just makes the developers' lives so much harder."

8. USERS CAN BE VERY PASSIONATE.

When you’re working on updating a design that’s part of something people use every day, even little tweaks can be a big deal. When Wadsworth and his team change something about Adobe XD, it impacts how creative professionals do their jobs. “People have very strong opinions about that,” Wadsworth says. “More so than just ‘They changed that button from green to blue,’ they’re like, ‘You changed something that was a built-in part of my process and now I’m going to have to relearn something.' There’s a lot of pressure.”

“Whenever I’m out there talking about my job, I show a picture of a woman who has the toolbar from Photoshop tattooed on her arm,” he explains. “That’s how strongly creatives take their tools.”

9. YOU MIGHT BE ABLE TO SEE THEIR FINGERPRINTS IN UNEXPECTED PLACES.

Good UX design may be subtle, but that doesn’t mean UX designers are totally invisible in their work. “I’m in the tutorial file of [Adobe] XD,” Wadsworth says. If you open the sample file designed to help you learn how to use the software, you’re following along with his work. “I’m the designer you can jump in and design along with,” he explains, and the app you watch him create has a personal connection for him. "I’m originally from Salt Lake City, Utah, and so the app that we designed to be the app you learn along with me inside XD is all based on my formative years growing up around national parks in the West.”

10. THEIR WORK ISN’T BUILT TO LAST.

“My life’s work will be gone when I’m old,” Mack says. “I will look back at all the work I’ve done as a UX designer and I won’t be able to go and touch any of it or use any of it—it will all be redone.” Regular product updates, aesthetic trends, and technological change mean that when you’re creating something for the web or mobile devices, it’s not going to stay the same for very long. If you create a website now, you probably aren’t going to be able to go back and look at your work in 10 years. That ephemerality isn’t necessarily a bad thing, though. “There’s something I like about it,” he says. “It’s like theater.”

11 Behind-the-Scenes Secrets of TV Meteorologists

nicoletaionescu/iStock via Getty Images
nicoletaionescu/iStock via Getty Images

The first weather forecast to hit national network television was given in 1949 by legendary weatherman Clint Youle. To illustrate weather systems, Youle covered a paper map of the U.S. in plexiglass and drew on it with a marker. A lot has changed in the world of meteorology since then, but every day, millions of families invite their local weatherman or weatherwoman into their living room to hear the forecast. Here are a few things you might not know about being a TV meteorologist.

1. SOME PEOPLE JUST NEVER MASTER THE GREEN SCREEN.

 A meteorologist working in front of a green screen.
eldinhoid/iStock via Getty Images

On-camera meteorologists might look as if they’re standing in front of a moving weather map, but in reality, there’s nothing except a blank green wall behind them. Thanks to the wonders of special effects, a digital map can be superimposed onto the green screen for viewers at home. TV monitors situated just off-camera show the meteorologist what viewers at home are seeing, which is how he or she knows where to stand and point. It’s harder than it looks, and for some rookie meteorologists, the learning curve can be steep.

“Some people never learn it,” says Gary England, legendary weatherman and former chief meteorologist for Oklahoma’s KWTV (England was also the first person to use Doppler radar to warn viewers about incoming systems). “For some it comes easily, but I’ve seen people never get used to it.”

Stephanie Abrams, meteorologist and co-host of The Weather Channel’s AMHQ, credits her green screen skills to long hours spent playing Nintendo and tennis as a kid. “You’ve gotta have good hand-eye coordination,” she says.

2. THEY HAVE A STRICT DRESS CODE.

Green is out of the question for on-air meteorologists, unless they want to blend into the map, but the list of prohibited wardrobe items doesn’t stop there. “Distracting prints are a no-no,” Jennifer Myers, a Dallas-based meteorologist for Oncorwrites on Reddit. “Cleavage angers viewers over 40 something fierce, so we stay away from that. There's no length rule on skirts/dresses but if you wouldn't wear it to a family event, you probably shouldn't wear it on TV. Nothing reflective. Nothing that makes sound.”

Myers says she has enough dresses to go five weeks without having to wear a dress twice. But all the limitations can make it difficult to find work attire that’s fashionable, looks good on-screen, and affordable. This is especially true for women, which is why when they find a garment that works, word spreads quickly. For example, this dress, which sold for $23 on Amazon, was shared in a private Facebook group for female meteorologists and quickly sold out in every color but green.

3. BUT IT’S CASUAL BELOW THE KNEE.

Since their feet rarely appear on camera, some meteorologists take to wearing casual, comfortable footwear, especially on long days. For example, England told the New York Times that during storm season, he was often on his feet for 12 straight hours. So, “he wears Mizuno running shoes, which look ridiculous with his suit and tie but provide a bit of extra cushioning,” Sam Anderson writes.

And occasionally female meteorologists will strap their mic pack to their calves or thighs rather than the more unpleasant option of stuffing it into their waistband or strapping it onto their bra.

4. THERE ARE TRICKS TO STAYING WARM IN A SNOWSTORM.

“In the field when I’m covering snow storms, I go to any pharmacy and get those back patches people wear, those heat wraps, and stick them all over my body,” explains Abrams. “Then I put on a wet suit. When you’re out for as long as we are, that helps you stay dry. I have to be really hot when I go out for winter storms.”

5. THERE’S NO SCRIPT.

Your local TV weather forecaster is ad-libbing from start to finish. “Our scripts are the graphics we create,” says Jacob Wycoff, a meteorologist with Western Mass News. “Generally speaking we’re using the graphics to talk through our stories, but everything we say is ad-libbed. Sometimes you can fumble the words you want to say, and sometimes you may miss a beat, but I think what that allows you to do is have a little off-the-cuff moment, which I think the viewers enjoy.”

6. MOM’S THE AUDIENCE.

A retro image of a weatherwoman.
H. Armstrong Roberts/Retrofile/Getty Images

Part of a meteorologist’s job is to break down very complicated scientific terminology and phenomena into something the general public can not only stomach, but crave. “The trick is … to approach the weather as if you're telling a story: Who are the main actors? Where is the conflict? What happens next?” explains Bob Henson, a Weather Underground meteorologist. “Along the way, you have the opportunity to do a bit of teaching. Weathercasters are often the only scientists that a member of the public will encounter on a regular basis on TV.”

Wycoff’s method for keeping it simple is to pretend like he’s having a conversation with his mom. “I’d pretend like I was giving her the forecast,” he says. “If my mom could understand it, I felt confident the general audience could as well. Part of that is also not using completely science-y terms that go over your audience’s head.”

7. SOCIAL MEDIA HAS MADE THEIR JOBS MORE DIFFICULT.

Professional meteorologists spend a lot of time debunking bogus forecasts spreading like wildfire across Twitter. “We have a lot of social media meteorologists that don’t have necessarily the background or training to create great forecasts,” Wycoff says. “We have to educate our viewers that they should know the source they’re getting information from.”

“People think it’s as easy as reading a chart,” says Scott Sistek, a meteorologist and weather blogger for KOMO TV in Seattle. “A lot of armchair meteorologists at home can look at a chart and go ok, half an inch of rain. But we take the public front when it’s wrong.”

8. THEY MAKE LIFE-OR-DEATH DECISIONS.

People plan their lives around the weather forecast, and when a storm rolls in, locals look to their meteorologist for guidance on what to do. If he or she gets the path of a tornado wrong, or downplays its severity, people’s lives are in danger. “If you miss a severe weather forecast and someone’s out on the ball field and gets stuck, someone could get injured,” says Wycoff. “It is a great responsibility that we have.”

Conversely, England says when things get dangerous, some people are reluctant to listen to a forecaster’s advice because they don’t like being told what to do. He relies on a little bit of psychological maneuvering to get people to take cover. “You suggest, you don’t tell,” he says. “You issue instructions but in a way where they feel like they’re making up their own minds.”

9. DON’T BANK ON THOSE SEVEN-DAY FORECASTS.

A weatherman reporting during a storm.
pxhidalgo/iStock via Getty Images

“I would say that within three days, meteorologists are about 90 percent accurate,” Wycoff says. “Then at five days we’re at about 60 percent to 75 percent and then after seven days it becomes a bit more wishy-washy.”

10. THEY’RE FRENEMIES.

The competition for viewers is fierce, and local meteorologists are all rivals in the same race. “When you’re in TV, all meteorologists at other competitors are the enemy,” England says. “You’re not good friends with them. They try to steal the shoes off your children and food off your plate. If they get higher ratings, they get more money.”

11. THEY’RE TIRED OF HEARING THE SAME JOKE OVER AND OVER.

“There’s always the running joke: ‘I wish I could be paid a million dollars to be wrong 80 percent of the time,’” Sistek says. “I wanted to have a contest for who can come up with the best weatherman insult, because we need something new! Let’s get creative here.”

A version of this story originally ran in 2015.

13 Behind-the-Scenes Secrets of Movie and TV Extras

EvgeniyShkolenko/iStock via Getty Images
EvgeniyShkolenko/iStock via Getty Images

Background actors are the unsung heroes of television. Without them, most movie and TV scenes would be empty and unrealistic. But while we’re obsessed with movie stars, we never hear much about the people moving around behind them—because by design, we’re not supposed to pay them any attention. Here are a few insights on what it’s like to get paid to blend into the background.

1. Extras Are Not Professionals.

The chances of using background acting as a foray into stardom are pretty slim. “You’re not gonna get your big break as an extra,” says Claire Beaudreault, who has been an extra on shows including Orange Is The New Black, GIRLS, and Law & Order: SVU.

Most of the people you see in the background of a film or TV show have other jobs and are just doing extra work for fun. “I didn’t do it because I saw it as some backdoor into acting or anything,” says Jason Feifer, who was an extra in a scene of the 2004 film Jersey Girl. “But there are definitely people who do that.”

And there are always a few extras on set trying desperately to stay in front of the camera. “It’s a silent vie for control,” says Dillon Francis, a Los Angeles-based actor who was an extra on the movie Easy A back in 2010. “It was kind of interesting to watch. These guys would learn where the camera was going and redo their vector so they walked in front of it.” That’s a quick way to get a slap on the wrist from the director or a production assistant.

2. Extras Have to Do a Lot of Hurry-Up-and-Wait on Set.

Days on set can be excruciatingly long, sometimes lasting more than 15 hours and starting at odd times or ending at the crack of dawn. And a lot of that time is spent just sitting around waiting to be used in a scene, or repeating a single shot a dozen times. “There are days you get to set and you wait and wait and you never get used,” says Amy Rogers, a regular extra featured in TV shows including Homeland and Banshee, “or you work all day and the footage never gets used.”

Extras spend their down time in a designated “holding” area reading or playing card games. On the set of Easy A, which was set in a high school, extras had to wear backpacks stuffed with bubble wrap to make them seem full. “A fun way to distract yourself in downtime was to open up your backpack and pop bubbles,” Francis says.

3. What Looks Like Booze On Camera Isn't Actually Alcohol.

A glass of apple juice spritzer
stephanhartmann/iStock via Getty Images

While posing as party-goers in bar scenes, extras need something to fill their cups. But film sets are no place for drunk actors, so the props team uses a number of tricks to fool the camera, some less appetizing than others. Apple juice is a good substitute for beer, according to Beaudreault: “Or it’ll be seltzer with a little food coloring in it. There will be bottles that have been cleaned out and their labels removed and fake labels put on.”

“Vinegar is sometimes used to approximate the texture and viscosity of booze,” Rogers says. “You’ll stand there with a glass of vinegar for eight hours.” And because filming can be a long and mind-numbingly repetitive process, nobody has time to replace melting ice cubes, so they’ll use gelatin ice cubes. Or, for the ultimate cheat, plastic wrap can be put in a cup filled with water to resemble crushed ice, according to Gale Nemec, who teaches a workshop for background actors. (This approach also apparently makes for festive centerpieces.)

4. Smokers Get Paid More.

When actors smoke on set, they’re usually not sucking on real cigarettes. On Mad Men, for example, the actors smoked herbal cigarettes that didn’t contain nicotine or tar (which is great, considering Jon Hamm reportedly smoked 74 of them shooting the pilot alone).

Non-union extras usually get paid minimum hourly wage, but according to Rogers, they get a small pay increase if they’re asked to smoke in a scene. “They call that a ‘bump’ in the business,” she says. The same rule applies if your car is featured in a scene. “They want boring cars that will never be noticed on screen,” says Steve D’Avria, an extra in The Hunger Games and Homeland. “My 2003 Toyota Camry has been in more TV shows than I have. You get a whole $20 for it.”

5. Extras Have Been Wearing the Same Duds for Days ...

On a film or TV set, continuity is key. To create the illusion that a scene is happening in real-time, rather than over a series of hours or days, every little detail must remain the same in each shot and from every angle. Extras are meticulously examined for accidental inconsistencies in their wardrobes. “You’ve gotta wear the same clothes every day,” Rogers says. “The production assistant will take your picture for continuity to make sure you haven’t taken off a necklace or something. For the Homeland finale, I wore a pair of leggings and a raincoat for a solid week.”

6. ... And They Usually Have To Bring Their Own—The Blander, The Better.

Row of men's shirts in blue colors on hanger
Tatiana Dyuvbanova/iStock via Getty Images

Background actors are usually expected to bring their own clothes to set unless the production has a large wardrobe budget. And if you were to peek into the closet of a regular background actor, you’d see hangers upon hangers of gray and dark blue clothing items. Muted colors are preferred on set to make sure extras are as unremarkable as possible. Shirts can’t have any visible logos, and white clothes are discouraged because they “have a tendency to shine like a beacon on camera,” Francis says.

If you resemble one of the principal actors, you’re probably not going to get much camera time. “On Homeland, you’ll never see them place anyone near Claire Danes who has the same hair color as her,” Rogers says.

And pro tip: never look at the camera. “One guy in The Hunger Games kept staring at the camera and they finally just told him he had to sit down,” D’Avria says.

7. Wardrobes for Extras Get Recycled.

If an extra has to wear an elaborate costume, there’s a chance it’s been used before on another set. “One outfit I wore for Insurgent was worn on Pirates of the Caribbean,” says Dawn McHargue, who has also appeared in The Hunger Games, Iron Man 3, Nashville, and Necessary Roughness.

8. Extras Are Great Mimes.

Extras often need to make a scene appear alive and bustling while at the same time remaining totally silent on set so as not to interfere with the actors’ dialogue. This means pretending to conduct a conversation without actually making any noise, and every extra seems to have their own method. “I’m either pretending to flirt with someone or gossiping about something,” Beaudreault says. Also, dance scenes are often filmed in silence and the music is added in later.

While filming a crowd scene for the movie Jersey Girl, Feifer says he spent hours pretending to applaud and cheer. “They would do entire takes where the audience would go through the whole motion but we wouldn’t clap. We would fake clap but not actually get our hands to meet.”

9. For Actors, Seasons Are Irrelevant.

It’s amazing what a little fake snow can do to transform a summer day into a winter wonderland. “Sometimes when you’re shooting a winter scene, everyone is in heavy jackets and hats and gloves and it’s actually 100 degrees outside,” Nemec says. “You can gauge whether it’s actually cold or not if breath is coming out of the actor’s mouth. If not, it’s a good bet they’ve put snow on the ground and it’s hot as all get out and everyone is playing like it’s cold.”

For indoor scenes, air conditioning has to be turned off to eliminate background noise, which makes for a sweaty situation. Between takes, overheating extras strip their layers off to cool down.

10. The Movie Stars Are Off Limits for Extras ...

“As a general rule, don’t speak to them unless they speak with you first,” advises casting director Tona B. Dahlquist.

While filming on one movie, McHargue and her fellow extras were told to avoid looking the star in the eye. “They were very adamant that we were not to go near him or touch him or we would get kicked off set immediately,” she says.

But occasionally extras get a candid glimpse of a movie star’s true personality. For example, while filming The Hunger Games, D’Avria saw Jennifer Lawrence chilling at a card table munching on M&Ms, and watched Josh Hutcherson (who played Peeta) ride around set on a BMX bike.

On the flip side, Francis was the victim of one star's on-set meltdown. “She sees me standing there and she freaks out, saying something about how she’s had a rash of stalkers lately and I’m within a 50-foot perimeter,” he says. “She’s glaring at me from the tent and a PA runs over, moves me a few feet away and says ‘sorry’ and runs away again.”

11. ... And Social Media Is a Good Way for Extras to Get Blacklisted.

Young people taking photo with smartphone
YakobchukOlena/iStock via Getty Images

Phones aren’t allowed on set and photos are strictly forbidden. “While filming Insurgent, there was a girl who took a picture of the set and shared it,” McHargue says. “Lionsgate security came from California to Atlanta and they took her away. She will never work on a set again. She’s blacklisted.”

If you’re sneaky, you can swipe a harmless item from set as a keepsake. While filming The Hunger Games, D’Avria says there were signs in the bathroom that said, “Flush the toilet or you’ll be sent to the Hunger Games.” “I borrowed that sign as a souvenir,” he says.

12. The On-Set Catering Is Pretty Good.

Vats of catered food
kckate16/iStock via Getty Images

The quality of food on set varies depending on budget, but generally, extras eat some amazing grub brought in by professional caterers. “The food on Iron Man 3 was the best food I’ve ever had,” McHargue says. “We ate with the cast and crew and we had anything you could think of: the best steak, shrimp, lobster, and crab. The buffet table, you couldn’t see the end of it.”

The catch: You often don’t get to eat lunch until about 3 pm and dinner starts at 10 pm, according to D’Avria. Extras are advised to bring a few snacks to hold them over until feeding time.

13. Extras Can't Watch TV Like Regular People.

Once you know how a movie is filmed, it’s hard to watch it with fresh eyes. “I can’t watch TV anymore without looking at the background actors and seeing who’s doing it right and who’s doing it wrong,” Nemec says.

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