Hiring Local Talent and Extras in Ireland
A coordinator-led plan for casting extras, confirming terms and preparing the set.
Local performers and background extras can give an Ireland shoot the specificity it needs: the right regional detail, language, age range, movement and community context. The best results come from treating extras coordination as a production function, not a last-minute request for faces. The practical decision is which combination of coordinator, agency, open casting and production support fits this brief. That choice affects who checks availability, who holds personal information, who communicates call details, and who reconciles changes with accounts. Fees, usage, payroll treatment and working conditions should be agreed in writing for the particular production rather than estimated from a generic rate card.
As Fixers in Ireland, we bring local expertise to international productions filming in Ireland. Our team's deep knowledge of local regulations, crew networks, and production infrastructure ensures your project runs smoothly from pre-production through delivery.
ACT 01
Start with a clear brief
Before approaching performers or agencies, define:
- the number and type of background performers required;
- dates, locations, call times and likely schedule changes;
- age ranges, languages, accents, skills and any action or movement required;
- wardrobe, fittings, hair and makeup expectations;
- whether the work is atmospheric background, featured background or a speaking role;
- usage, publicity and any other contractual terms; and
- accessibility, dietary, safeguarding or supervision needs.
Context before appearance
Describe the story and the cultural context as well as the visual requirements. Avoid reducing a community to a checklist of appearances. If regional or language authenticity matters, involve people with relevant local knowledge early enough to improve the brief.
ACT 02
Put one person in charge of extras coordination
Screen Ireland’s description of the assistant directors department provides a useful model: the Extras Coordinator casts and manages extras on set under the direction of the Director and 1st AD, working with production, accounts, costume, hair and makeup. The coordinator also works with production and accounts on whether an agency will be used; if not, an open casting process needs to be organised. For a particular production, agree who owns each handoff. A useful sequence is:
1. Confirm the brief and authority.
Establish who approves numbers, likeness, wardrobe, actions, usage and substitutions.
2. Choose the casting route.
An agency may be suitable for a large or specialist requirement; an open casting or direct local search may suit another production. Screen Ireland’s crew-and-services directory is a starting point for finding providers; its local film offices offer regional production knowledge. Neither replaces checking a casting supplier’s current availability and terms.
3. Build the booking information.
Share the confirmed dates, location, call information, role description, paperwork requirements and payment terms with the relevant contact.
4. Track confirmations.
Keep a live list of availability, measurements, wardrobe notes, contact details, consent and any production-specific requirements. Limit access to personal information to people who need it.
5. Coordinate the set.
The Extras Coordinator should brief performers, manage holding areas and movements, and stay aligned with the Director, 1st AD and departments throughout the day.
6. Record changes.
Document cancellations, substitutions, additional work, travel arrangements and any change to the agreed booking so production and accounts can reconcile them.
Set the schedule for this shoot
This is a planning model, not a fixed Ireland-wide service workflow. Build timing around the complexity of the brief and the availability of the people you need. Agree the casting schedule and replacement plan with the coordinator or supplier for this production rather than promising a fixed turnaround.
ACT 03
Work with local knowledge without overgeneralising
Regional knowledge can help a production find suitable people near a location and understand local language or community context. Screen Ireland’s local film-office network offers information, advice and support to filmmakers in every county. Its crew-and-services directory is intended to connect productions with Irish crew, production companies, services and facilities; check current listings directly.
Check each provider
Use those resources as starting points, then check each provider directly. Ask about current availability, the service being supplied, fees or commission, booking terms, data handling and who will coordinate performers on the day. Do not assume that a Dublin supplier, a regional contact or a listed directory entry covers every performer category or location.
Brief for context
For culturally specific work, explain what is genuinely required and invite informed input. Casting should reflect the production’s setting and story without treating accent, ethnicity, nationality, disability or age as shorthand for a character.
ACT 04
Agree terms and budget carefully
Budget each booking from the applicable agreement or written terms, not a generic online rate card. Clarify:
- the fee and what it covers;
- overtime, additional days, fittings, rehearsals and reshoots;
- travel, accommodation, meals and other agreed expenses;
- image, voice, usage and buyout terms;
- agency or representation charges, if any;
- payroll classification and required deductions or employer costs; and
- cancellation, substitution and weather-delay arrangements.
Which agreement applies?
Irish Equity and Screen Producers Ireland announced a three-year television-drama agreement in March 2016 and an Irish Film Agreement starting in February 2021. Irish Equity members voted in April 2022 to approve the use of UK Equity agreements on international film co-productions shooting in Ireland; that motion does not show producer adoption. These dated announcements do not establish whether any agreement remains current or covers background performers, nor a universal union-membership requirement or current extras rate. Before booking, identify the agreement’s parties, production and role scope, worker coverage, current version and whether it is incorporated into this engagement. Confirm applicability with the producer, relevant union representative or Irish production counsel, and obtain current written terms.
ACT 05
Plan working time and breaks by worker category
Do not apply one blanket “shoot day” rule to every performer. For adult employees, the Workplace Relations Commission (WRC) describes general working-time provisions including an average maximum working week of 48 hours, 11 consecutive hours of daily rest in each 24-hour period, a 15-minute break after more than 4½ hours, and a 30-minute break after more than 6 hours (which may include the first break). The WRC also notes that payment for breaks is not a statutory entitlement.
Check the engagement
Those are general employee provisions, not a complete answer for every performer, contract or production. Check employment status, exceptions, contractual terms and any applicable collective agreement with the production’s payroll and employment advisers. Do not promise a particular premium period, maximum shoot length, meal format or overtime threshold unless the applicable terms confirm it.
Children and young persons
For a performer under 16, the prospective employer should check the film and television employment-licence process early. The WRC advises applying in writing at least 21 days before employment begins; this is application guidance, not a guaranteed decision or a stated statutory filing deadline. The WRC’s film and television notes list conditions that may apply to a licence, such as chaperoning, education and meal or rest breaks; these are examples, not permission to work outside the applicable rules. Confirm how the issued licence and statutory limits interact for the actual role, and check its conditions for consent, supervision, education, working time and breaks with the competent authority and the production’s advisers before employing the child.
Age-specific protections
The revised Protection of Young Persons (Employment) Act defines a child as under 16 and a young person as 16 or 17. For an employed child, it provides a 30-minute break after no more than four hours’ work, generally 14 consecutive hours’ daily rest and two days’ weekly rest. For an employed 16- or 17-year-old, it generally provides 12 consecutive hours’ daily rest and two days’ weekly rest, with a 30-minute break after no more than four and a half hours’ work. By default, an employer may not employ a child between 8 p.m. and 8 a.m.; young people generally may not work more than eight hours per day or 40 per week, or between 10 p.m. and 6 a.m. (the Act provides a prescribed 11 p.m. to 7 a.m. exception for exceptional circumstances in a particular branch of activity, but not on a night before a school day during term for a young person attending school). The Act also lets the Minister vary some young-person terms by licence or regulations, and a child’s licence may carry its own conditions, so do not assume a booking overrides these limits or that the default figures are the whole position. The revised-Act text on the Law Reform Commission site is stated as updated to 27 July 2022; confirm the current position and any exceptions with the WRC or Irish counsel for the particular engagement, and do not substitute general adult guidance.
ACT 06
On-set coordination checklist
Before the first call, confirm:
- the Extras Coordinator, 1st AD and department contacts;
- arrival, registration, holding and release arrangements;
- costume, hair and makeup sequence and privacy requirements;
- safeguarding, supervision and emergency contacts;
- the approved actions, dialogue or background movement;
- break and rest planning appropriate to the worker category;
- transport, access and weather contingencies; and
- how production will record attendance, changes and payment information.
Briefing and escalation
A concise briefing helps performers understand where to go, what is expected and who can answer questions. A clear escalation route helps the floor team solve issues without exposing personal information or disrupting the schedule.
ACT 07
Common Questions
How early should we begin casting extras?
There is no reliable universal lead time. Begin when the brief, location, numbers, special requirements and working arrangements are sufficiently clear. Larger crowds, specialist skills, children, language requirements and difficult locations need more planning. Confirm timing with the coordinator or supplier handling the booking.
Should we use an agency or open casting?
Either may be appropriate. Screen Ireland’s Extras Coordinator workflow recognises both agency use and open casting. Choose based on the production’s scale, performer requirements, location, schedule and the provider’s current terms. Verify availability and charges directly rather than relying on an assumed agency list or market count.
Can the same extras work on several days?
Possibly, subject to their booking, rest requirements, availability and the terms that apply to their worker category. Reconfirm each day’s call and record any change. Children require particular attention to licensing, supervision, education and age-specific rest and days-off protections.
What do we need to arrange for a child performer?
For a performer under 16, check the WRC film and television employment-licence process. The WRC advises the prospective employer to apply at least 21 days before employment starts; applying on time does not guarantee a licence. Confirm the current process before booking and obtain the issued licence and its conditions before employing the child. For a 16- or 17-year-old, check the separate young-person working-time protections and any production-specific requirements.
How should we budget talent?
Do not rely on generic online figures. Confirm the applicable agreement or booking terms, then budget the fee, usage, fittings, travel, accommodation, meals, agency charges, payroll treatment and any additional work. Current rates and conditions may differ by role, production and agreement.
What should a production partner be asked to coordinate?
Ask the proposed partner to state whether it is shaping the brief, sourcing candidates, managing an agency or open casting, maintaining booking information, or supporting the Extras Coordinator on set. Confirm scope, availability and terms for the specific project rather than assuming that one supplier provides every part of the process or promises a standard rate or timeline.
Sources
- Workplace Relations Commission — Working hours and breaks (adult working-time guidance)
- Workplace Relations Commission — Employment of children and young persons (21-day licence application guidance)
- Workplace Relations Commission — Notes on employing children in film and television (licence conditions)
- Law Reform Commission — Protection of Young Persons (Employment) Act 1996, revised (definitions, sections 3, 4, 6 and 7)
Ready to Roll
Plan Local Casting in Ireland
Share the numbers, dates and location in your extras brief. We can discuss an appropriate casting route and the booking details to confirm before the shoot. Contact Fixers in Ireland to discuss your next project.