As Ewan McGregor’s stand-in, I was not an actor in Miles Ahead — Don Cheadle’s locally filmed Miles Davis film — but more of a celebrity-shaped prop used only when the camera was not rolling. I’m just a random Cincinnatian that was given a unique opportunity. This article is not some cloak and dagger breach of the film industry in the name of entertainment journalism. This is not sticky celebrity worship or paparazzi gossip. I’ll try not to bore you with polite snippets of conversations I had with real life celebrities. This is not even breaking news. I’m happy to share part of my story because Cincinnati is poised to become a major filming destination for Hollywood and, according to the checks still arriving in my mailbox and that bumper sticker I saw everywhere on set: “Film = Jobs.”
It all started when I was browsing Craigslist for part-time work. There was a casting call for extras in Miles Ahead. I’m a young freelance writer, so I obviously need the cash. I sent a few profile pictures from my Facebook account (not super professional headshots) and pretty much forgot I had indicated interest in the movie until the agency called me back for a photo test. Basically, this is to see how well I photograph and gives the casting agency a chance to decide if I’m sanitary enough to work in their picture. They took a few mugshots and thanked me for my time. A week went by and I figured no bueno until I got another call from the agency, which gave me the nicest professional compliment imaginable: They wanted to pay me to essentially stand around their movie set because I kind of look like Ewan McGregor.
“Let me check my schedule,” I said, looking at my bare wrist. “Sure, why not?”
To put it another way, I’m getting paychecks because I somewhat resemble Obi-Wan Kenobi. My spirits were higher than Cloud City on Bespin.
They put me straight to work day one, sitting in a Jaguar XJ6. As a stand-in it was my job to approximate how the light will bounce off McGregor’s face. I got paid to stand (or sit, or whatever) where he’d be for the shot. We were shooting in front of the Cincinnati Bell building downtown, which had the exterior fitted to resemble the CBS headquarters in New York City, 1978. The Enquirer published a photo of McGregor where I happen to be in frame, wearing a similarly colored jacket (which is called my color cover). The picture made its way to USA Today and, as a reporter, it’s disorienting to have finally “made it” to a national publication as a simple bystander in a photo with no byline of my own.
The starstruck shock of being around celebrities faded quickly, but the joy of watching them work their craft was never tiring. Cheadle and McGregor are true professionals and it’s no wonder they’re world-famous. I can’t write much at all about the scenes or characters in order to avoid spoiling the film, which is a relief. This experience is so much more than just being a part of a potentially award-winning film. I’m a stranger to the film industry but have gained so much respect for the cast and crew because they are 100-percent dedicated to ensuring the film’s overall success. I’m honored to have contributed to this project in my own small way.
During one shot I was instructed to hold a Colt .38 snubnosed revolver while the lighting was rigged. A cool sensation trickled behind my neck when Cheadle reached out and I handed him the gun.
Every workday was at least 12 hours, but it was more common to hit 13 or 14. The film industry does not follow the traditional workweek’s nine-to-five. If it’s a night shot, then be prepared to stay up all night. The schedule varied, which was discombobulating, but enough time was given for a good stretch of rest between each day. No time for a social or family life during production. Even if you reported to set at 8 p.m., you’d be greeted with, “Good morning.”
At one point while filming in a church in Oakley I met Erin Davis, son of Miles. I didn’t realize who he was until after the fact, but am still delighted to have met direct family of the musical icon.
One day I helped Cheadle move a dresser between two rooms. We talked exactly like I’ve talked with everybody else that has shared the duty of moving a dresser:
“Got your side OK?” I said.
“Watch out for that rolled up carpet,” Cheadle said.
“Let’s just set it face up on the bed.”
I wore a wig for 12 hours in order to spend 40 minutes working on a five second shot. McGregor might owe me a favor at this point, because I believe my action scored him a day off work. I was McGregor’s shadow double. My job for the day was to tap on a stained glass window, run my hand through my wig hair, tap on the window again and then exit the shot — convincingly. The camera is only picking up my silhouette on the other side of the solid colored window. I just realized that I shared a scene with Cheadle, even though we were in different rooms. Last month I couldn’t get a dishwashing job at Dewey’s Pizza.
I was typically dismissed whenever McGregor was done for the day, unless they needed me to stand for any other characters. We worked all over the city and it was reassuring to see Cincinnati could adequately play host to this amazing project. We might not need to ship all of our creative talent to California and New York in the coming years.
I stopped by my friend’s place on the way home one night after shooting. Some girls were hanging out in his room and one told me I reminded her of someone.
“I’ve been getting that a lot.”
MILES AHEAD is expected to open sometime next year.
This article appears in Aug 27 – Sep 2, 2014.