And the wraith on the heart monitor looks pensively down at Gately from upside-down and asks does Gately remember the myriad thespian extras on for example his beloved ‘Cheers!,’ not the center-stage Sam and Carla and Nom, but the nameless patrons always at tables, filling out the bar’s crowd, concessions to realism, always relegated to back- and foreground; and always having utterly silent conversations: their faces would animate and mouths move realistically, but without sound; only the name-stars at the bar itself could audibilize. The wraith says these fractional actors, human scenery, could be seen (but not heard) in most pieces of filmed entertainment. And Gately remembers them, the extras in all public scenes, especially like bar and restaurant scenes, or rather remembers how he doesn’t quite remember them, how it never struck his addled mind as in fact surreal that their mouths moved but nothing emerged, and what a miserable fucking bottom-rung job that must be for an actor, to be sort of human furniture, figurants the wraith says they’re called, these surreally mute background presences whose presence really revealed that the camera, like any eye, has a perceptual corner, a triage of who’s important enough to be seen and heard v. just seen. A term from ballet, originally, figurant, the wraith explains.
— David Foster Wallace, Infinite Jest