My journey into the world of movie making started unexpectedly when I signed up for what became my first “movie job.” Two names drew me to this project: the director Sam Raimi, and the star Keanu Reeves. Although, as fate would have it, my paths never crossed with Mr. Reeves as he had completed his scenes just the day before I was scheduled to work. However, from the outset, Sam Raimi lived up to his reputation. He struck me as a genuinely nice and incredibly patient man. Echoing my initial impression, the seasoned extras, who had been on set intermittently throughout the filming, consistently praised his demeanor and directing style.
My call time was set for a late 6:00 PM, signaling a long night ahead, and indeed, we didn’t wrap up until the early hours of 6:30 AM the next day. A significant portion of this time was spent in “extra holding,” a common experience for background actors. The routine was somewhat comical at times; a production assistant with a handheld radio would periodically summon a small group of us, lead us partway towards the set, only to turn us back to holding due to a change of plans. This happened multiple times, perhaps six or seven, creating a sense of anticipation and slight amusement among us extras. Finally, when we were officially called to set, the atmosphere shifted to focused activity. We received clear instructions regarding our positions and movements within the scene. My role was designated as a “nosy neighbor,” a character detail that I hoped would survive the editing process. Positioned further back from the main action, I was nonetheless involved in numerous takes, each requiring me to walk towards the heart of the scene.
Then came the moment that truly stood out – my scene with Giovanni Ribisi. The context was intense: his character had just committed the dramatic act of setting his father on fire and was being escorted away by law enforcement. As part of the background action, another female extra and I were directed to walk up from the street and position ourselves near an ambulance, observing the unfolding drama.
Alt text: In a gripping scene from ‘The Gift’, actor Giovanni Ribisi is escorted by police, conveying intense emotion as bystanders watch.
The scene was rehearsed meticulously. Before the cameras rolled for the actual take, we ran through the sequence approximately three times. Then, for the actual filming, we performed it another six or seven times, capturing the action from various angles. I couldn’t help but feel for Giovanni Ribisi during these repeated takes. The physical demands of being handcuffed, placed in a police car, driven a short distance, reversed, and then having to repeat the entire sequence upwards of ten times must have been incredibly taxing. Despite the repetition, Giovanni Ribisi’s professionalism and dedication were undeniable. His portrayal was captivating. I vividly recall the chilling look he gave as he was driven past us in the cop car – a look that genuinely sent shivers down my spine. It was a testament to his skill and commitment to the role, even in the midst of the repetitive nature of filming multiple takes.
Conversations with other extras, who had been involved in earlier scenes, provided interesting insights into the overall direction and feel of the movie. It was consistently mentioned that the principal actors were exceptionally kind and approachable towards the extras. Rumors had circulated about Keanu Reeves being perceived as unfriendly, but these seemed largely attributed to the constant attention he received from reporters and autograph seekers, which understandably could be overwhelming. Based on my own observations and the collective buzz on set, there was a strong sense that “The Gift” was shaping up to be a truly compelling film.
