While I was living in NYC being a
Day One of the shoot was a mob scene -- we were shooting at Tunnel Club and they had the place packed with sweaty extras. By Day Three the crowd had thinned out, as they were shooting in sequence, from peak clubbing hours into the very wee hours of the morning. On Day Four, they turned on the fog machines, to fill out the atmosphere around the few dozen of us extras still working (and by working, I of course mean acting like drunken club-goers).
Now, this was a troubled shoot. The director we were working for was eventually fired and the movie started over from scratch with a new director, so don't rent the movie and crawl through the club scenes looking for me -- I'm not there. There was tension on the set, though, and Michael J. Fox did lose his cool once that I witnessed, when a day-player who had a few lines with him missed her mark for the fourth time in a row (dumbass).
Sydney Pollack was producing the flick, and showed up on the set around Day Three, to babysit the director, I'm sure. He pretty much sat in his chair quietly and didn't interact with anyone, and after the initial flurry of recognition, we all ignored him.
So, Day Four. Fog machines. We had been working long days -- about 10 hours, mostly on our feet -- and I'd been out late
Back inside, while passing from the shooting area back to the extras area, Sydney Pollack stopped me. He was full of concern and truly sweet, asking several times whether I was sure I was okay, and offering me his director's chair (!!) so I could sit down. Of course, I didn't take his chair -- Sydney Pollack! -- I wobbled back to the extras area and sat my tushy down on a hard metal folding chair, like the rest of them/us.
But I never forgot what a complete gentleman he was. While sitting watching his project circling the drain, he still took time out to check on a $90-a-day non-union extra. That's class.