In the bustling world of film and television, while the lead actors often steal the show, it’s the extras – the unsung background characters – who breathe life into every scene. Known in the industry as a “supporting artist,” these extras play a key role in crafting believable narratives, from a crowded marketplace to a peaceful stroll in a park.

In the UK, the term ‘extra’ is increasingly seen as outdated, with trade unions such as Equity and BECTU advocating for formal recognition of these workers as performers now known in the industry as “supporting artists”. Their contribution is more than just being present: it’s about creating atmosphere, filling silences and ensuring continuity. While they are often overlooked, the industry as a whole relies on their work.

Being a supporting artist

Cain Aiden, a full-time supporting artist who has spent four years navigating the sets of commercials, TV dramas, and feature films. 

His journey into the industry started with curiosity. Cain used to go to the filming of TV shows as an audience member and was really into watching how shows were filmed. So he started looking for local jobs as a supporting artist. He says: “I think one of the first agencies I found was Talent Talks, the sign-up process was pretty easy and I got booked on a commercial job as a crowd. I was excited to say the least.”

That first job was exciting but realistic. Cain considers it as a great introduction to the industry. He says: “I’d never done anything like this. The people were amazing, the set up was brilliant. However, it wasn’t a sweet and short day.”

The early experience as an extra prepared him for the future of a full time SA. “I’d do it all over again,” Cain says.

After doing a few shoot days Cain found that he really enjoyed the work, the people and the places he went to. He says: “Trying to find a job that fit around my life was hard but I found the flexible choice of shoots and locations fit really well.”

Dealing with the schedule

This flexibility is part of what makes extra work appealing, but also what makes it unpredictable. Work can be confirmed with little notice, and while the assignment may be simple, the schedule rarely is so that the week can change really quick.

“Jobs can be booked the night before so it’s not often I know weeks in advance of work. However, as most of the work is pretty routine, preparing for them is stair forward.”

Extras often have to work long hours on set, even if they’re not doing anything on screen. For Kane, good sleep is vital if he has got a shoot at 4am. He says: “I won’t try to wing it on coffee because there’s no guarantee when that day ends.”

The best way to recharge yourself on set is to wait quietly while others are filming. Cain explains: “I’ve done five-hour days and 16-hour days. But having a chill when you can on set helps.”

Terminology varies depending on the production, but Cain breaks it down practically. Cain says: “Crowd mostly. Some don’t like being called extras but it just depends on the production. I’d say there is a separation between supporting artists, featured artists and crowds — but for logistics like movement and food, generally eat as a crowd.”

Getting that first job

Pay for SAs in the UK typically ranges from £90 to £110 a day, depending on the production and location. Some receive SA compensation for wardrobe changes, early call times, or special requests like haircuts. Most SAs work through casting agencies that take a 15–20% commission, and payment can take several weeks. Having a versatile wardrobe, a reliable alarm clock, and a lot of patience goes a long way.

If you’re also looking for your first SA job through an agency, not every agency is created equal. Cain advises newbies to do their research and lean on the SA community. He says: “Word of mouth is super important. I’m in a few supporting artist groups on Facebook and WhatsApp, so listening to what everyone is saying about new and sparkly agencies out there helps. But mostly I go by if these companies can provide. Finding an agency that fits you is key.”

What’s more important is to find a role that suits you on the set. Different people have different skills, looks and locations. What works for someone, doesn’t always work for you. So it would be better to have a list of agencies you prefer to work with.

After four years working in the SA field, Cain also realised the realities of the job – and how AI and automation were changing the field. He says: “The film industry is having to adapt with the rise of AI. I wouldn’t say it’s stopping the film but it’s changing things up.”

Reasons for being involved

Not everyone is in it for the same reasons, and that’s okay.

“Some people enjoy the work of a supporting artist and some just see it as a stepping stone to more. Be who you are and do the work that you enjoy.”

For people who want to break into the industry of SA, Cain offers a sobering piece of advice: “Don’t go into the work thinking you will become a superstar.” 

It is work, however it’s not always regular. You will not always get to be near the camera, you will not always get asked to have a special action or get given lines to say. It could happen but it’s rare. At the end of the day, as a supporting artist, you are there to support the artist. Cain remembers the worst thing he has is to cancel jobs at the last minute because it’s too early, in the middle of nowhere and they don’t want to be a passerby.

If you still want to try the life of an SA, remember to enjoy yourself and don’t let fear of missing out take you to the four nations of the UK for a film job that you wont make any money on.. Just like Cain always motivates himself: “Do the work that you want to do that fits your talents, do the work that works for your life.”