for store props (most of which cost five or ten cents apiece). Of the development costs, the salaries for everyone involved in the film totaled $3. Toland had the use of a Mitchell camera, which permitted some shots which would have been impossible with the DeVry camera (including about 300 feet of closeups). Additional camerawork was by Paul Ivano; according to Taves, Ivano was primarily responsible for much of the film's camerawork and Toland primarily handled the closeups. A Hollywood Extra was shot on 35mm film, over a three-week period in late 1927, mainly on weekends. No subtitles are used in the film. Only two captions are used, each with one word ("Dreams" and "Success"); they were produced by reflecting a moving light through cardboard cutouts, creating words among the shadows. Casting The extra 9413 was played by Belgian actor Jules Raucourt, who was credited in the film simply as "Raucourt". Although Raucourt began his career as a leading man in silent action films, he became a film extra himself after cinema transitioned to the sound era. Raucourt later wrote a novel, using the title of the film. Extra 13 was played by Adriane Marsh, a film extra in real life who never again had a credited film role. Extra 15 (who becomes a movie star) was played by Voya George, a friend of Vorkapić who went on to a career in European films. Florey appears in the film as a casting director, although only his disembodied mouth and hand are visible as he shakes his finger at the protagonist. Vorkapić also had a brief role in the film, as the man endlessly climbing the staircase to "Success". Filming Since the filmmakers had no access to a studio, the film was shot at their homes; walls were painted black, to provide a background. According to Movie Makers writer Herman G. Weinberg and Jack Spears of Films in Review, it was filmed primarily at Florey's house; however, film historian David E. James said that it was filmed in Vorkapić's kitchen. In an interview, Florey said that filming was done in his kitchen and in Vorkapić's living room. Some scenes were filmed in Toland's garage. The film has three basic types of composition: miniature sets, close-ups of live actors, and newsreel-like scenes of Hollywood and film studios. It includes abrupt cuts, rapid camera movement, extensive superimposition, dim lighting, and twisted shapes and