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Hollywood, Texas

How to join the cast of 'Yellowstone' spinoff '1883: The Bass Reeves Story' filming in North Texas

Cecilia Lenzen
Jan 9, 2023 | 2:59 pm
1883: The Bass Reeves Story

'1883: The Bass Reeves Story" is being filmed around Fort Worth

Facebook/Fort Worth Film

Dallas-Fort Worth fans of the hit TV shows Yellowstone and 1883 will have the chance to act in the shows’ newest spinoff, 1883: The Bass Reeves Story, at the end of January.

The new series' talent agency, Legacy Casting, announced on Facebook that they're seeking people, ages 16-50, to cast as Union and Confederate soldiers for scenes being shot in North Texas.

Casting director Andrei Constantinescu says they are also seeking Native American, specifically Black Seminole, men and women.

“But really, in the world of extras, we’re looking for all body types, ages, etc.,” Constantinescu says.

The agency is hoping to cast hundreds of non-speaking background actors and extras for some of the show’s scenes. For Civil War scenes, several hundred actors will be needed, they say, while some town scenes may require only a few hundred. Exact DFW shooting locations have not yet been revealed.

The new six-part series will be a sequel to 1883, about the titular character, a former slave who became one of the first Black U.S. deputy marshals west of the Mississippi River in 1875. Reeves, who will be played by British actor David Oyelowo, is said to have killed 14 outlaws and apprehended more than 3,000 criminals during his time as a marshal.

Taylor Sheridan, the creator of Yellowstone and 1883, will be the executive producer of Bass Reeves and is expected to direct two episodes. Sheridan is an honorary Fort Worthian who attended Pascal High School and lives on a ranch in Weatherford. This is not his first project in North Texas, of course. 1883 was filmed around Granbury and Fort Worth, partially in the Stockyards, in 2021 - much to local spectators' delight.

Those interested in being cast should create a profile with MyCastingFile, where Legacy Casting posts all its casting calls. For non-speaking background extras, there are no auditions. Those cast in Bass Reeves will be selected primarily based on the photos or videos applicants use in their MyCastingFile profiles, Constantinescu says.

Filming in Fort Worth is set to begin in late January. The agency plans to have wardrobe fittings until then. Pay will fluctuate at around $100-$150 per day, depending on the role, Constantinescu says. The base rate is $96 per 10 hours. Most background actors will only work one day, but those cast in a major scene may be required to be on set for multiple days.

While the pay may not look that appealing to some, Constantinescu says the job will be “a lot of fun” and a possible career advancement opportunity.

“If you’re interested in film, if you love to know what it’s like behind the scenes, this is a great experience for you,” he says. “Or if you want to make a career out of film and don’t really know where to get started, this is an awesome place to start because you can watch the process and start kind of making connections, as well.”

There are no COVID-19 vaccine requirements to be cast in the show. However, all cast and crew will be tested for the virus several times per week, Constantinescu says. Background actors will also be required to take a COVID-19 test before going to costume fittings.

For questions about casting, email extras@legacycasting.com.

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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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