Continued from
Part 5.
Late that Friday night, Mr. X calls me and tells me that the shoot tomorrow is a go. I am to bring white people. We are going to be reporters in a scene of the Chinese TV series being shot by Director Zhou Sun.
I used to do extra work as a teenager to supplement my $20/week allowance. I even had an agent who tried to cast me as a Thai prostitute on a weekly basis.
"But don't you want to meet Mark Walberg? Marky Mark?" she begged once (between putting me on hold for egregiously long periods of time).
"Nah," I shrugged, opting instead to hanging out with a cute boy. Sadly, later I found out that Chow Yung Fat was also in the movie and the cute boy broke up with me via the tried and true
Turkey Dump") tradition.
Lately, now that my weekly allowance comes from a company instead of mom and pops, I haven't been interested in extra work. But, wishing to see the director again and to distract myself from an odious amount of work that had to be done that weekend, I decide to go.
At 1 PM, I meet Mark, a white friend of mine who also got a kick out of being in a Chinese TV show, at the Starbucks around 5th Ave. and 32nd st.
We approach a section of the street that has an unusually high number of asians standing around --which, since we are in Koreatown, is somewhat misguided. But Mr. X, in typical fashion, had given me an intersection and no specific street numbers.
A boy gathers us and about ten other people into a semicircle. He introduces himself as "Tiger."
"Did he say Tiger?" I whisper to Mark.
"Yep," he nods, rubbing his hands excitedly. We can already feel that madcap will ensue.
Tiger gives us our assignment. The main character will come out of the revolving door of the fancy highrise we are standing in front. He has just donated all of his lottery winnings to a charity. Everyone is mad curious. We, as reporters, will swarm him and pepper him with questions. Since everything will be dubbed, it doesn't matter what we actually say. We will follow him in a 'razzi swarm as he gets into his limo at the curb, at which point he will be driven away and we will stand in the street with open mouths and unanswered questions and a faint and quickly passing sense of mopery.
Props are passed out. I get a small microphone with a wire coming out of it. I plug the wire into a buttonhole in my cardigan.
"Action!" someone yells in Chinese.

The revolving doors spin forth the main character and his caucasion lawyer. There is a shy pause, and then madness! As a dozen of us run towards them thrusting microphones and mini tape recorders and cameras at them.
A short woman to my left yells, "Why did you give your money away?"
The actor stops, grins at her, thinks, and answers in heavily accented English.
My turn. "Excuse me, excuse me, but... what is your favourite colour?" I yell.
I'm pretty proud of my ridiculous question until Mark one-ups me, "Mr. Yao, Mr. Yao," he shouts, "What about the children?"
By now everyone is trying to be a comedian.
"Are you gay?"
"What is your favourite restaurant?"
"Do you like New York?"
All asked in super urgent tones. The actor continues to grin and either shake his head and murmur, "No no no..." or nod his head and laugh, "Yes, yes yes."
It's fun and we do this scene a few more times with the camera at different places.
During one of the breaks, the director comes over and stands about two feet from me.
"Are you... are you the girl that I met yesterday?" he asks.
"Yes, yes I am!" I try to tone down the look of unadulterated happiness on my face. Which, I guess, means trying to look somewhat adulterated... why don't people say adulterated as much as unadulterated?
We nod and smile and Mark thoughtfully turns away to give the Director and I maximum opportunity to continue our shy exchange.
"So... you live here?" he asks.
"In New York? Yeah, yeah I do."
You know how every once in a while you meet someone who is so down to earth that you can't stand holding eye contact because you're not used to how they look at you so steadily but not in a challenge-you-to-a-staring-contest kind of way? Just in a simple studying kind of way? It was like that with the Director.
Eventually I have to look elsewhere or devise something to say to break the down-to-earthiness a little bit. C'mon, if I was better suited for this, would I be living on the east coast?
"Um, how long are you going to be staying in New York?" I ask.
"Oh, we're leaving on Monday. Have to go to [Chinese that I don't understand.]"
We nod some more. I'm pretty happy but also just about to kill myself from all the realness.
I remember a thing Mr. X told me on our drive to Flushing the day before, about how a NYU girl he had introduced to the Director the day before had totally inappropriately asked the Director to come give a talk at her school, inappropriate because she had bypassed Mr. X and asked the Director directly.

The Director was too polite to refuse but he was also too busy to go. He felt bad and told Mr. X about the girl's request. Mr. X was mortified and declared the girl completely immature, waving his arms indignantly above the steering wheel as he relayed the story to me.
So it was with some hesitation that I ask my next question.
"Do you have a card?" I finally blurt out. I feel bad for asking such a cheesy question to such a down-to-earth guy. But dudes, he's leaving on Monday, what else am I suppose to do?
"No, I don't," the Director says apologetically. He doesn't even pat his pockets, which suggests that he probably never carries such things around.
"Do you have one?" he asks.
I shake my head no. For some reason, it feels like our mutual not-business-card havingness has upgraded our relationship somewhat --like we just recognized each other as members of a small club. To be honest, it's not that I'm too un-cheesy to carry my business cards around; it's my forgetfulness that prevents me from spewing contact info at everyone I meet.
"I can give you my number..." the Director offers.
I of course do not have a pen on me either.
"Mark, Mark!" I scream at the top of my lungs. Standing half a foot from me, Mark turns and kindly avails himself to me pawing through his jacket pockets for a pen. After we locate a pen on his body, we realize that we don't have any paper.
I look down and see a used paper plate with a ketchup smear (or blood) smear on it. Without thinking, I pick it up to use as paper. Mark and the Director visibly recoil in disgust. Embarrassed, I drop it back onto the ground and sheepishly accept a piece of receipt from Mark's wallet.
"Okay, I'm ready," I announce.
The Director opens his mouth to say his number, then interrupts himself and asks me in the same shy way, "Do you know my name?"
I nod, touched at his humility. Everyone on set is basically treating him like a god or successfuly warlord, and he's still able to remain totally unassuming!
I write down the Director's number, my hand trembling both from the breezy March weather and from barely concealed excitement.
A small and stupid girl interrupts us to ask the Director for his signature. I shoot her a dirty look that she totally misses. I find Mark and slap him around in sheer drunken exhilaration. It has never been my modus operandus (how sad/odd is it that I've used this term twice in this series?) to get a cute boy's number, but now I know exactly how triumphant it feels to do so.
Because we are all decked in reporter gear and look somewhat convincing as a mob of media, passersby, especially tourists, stop to wait with us fake reporters to see who walks through the revolving doors.
One of the extras, a super nerdy guy who claims dubiously to be an investment banker by day, starts telling passersby that we are waiting for the vice-president of Taiwan.
"High five!" his other nerdy and also alleged investment banker friend exudes.
Finally, after we shoot last scene, and it is announced that we've shot the last scene, everyone claps and woos a little and disperses. For the whole shoot, Mr. X has been in turns driving an equipment van around, preventing people from parking where we are shooting, running after a small toddler who for some reason seems to be part of the crew but has no responsibilities other than to run around and look cute, and coming up to me every once in a while to advise me to "get in front of the camera more, turn your face to the camera, maximum exposure!"
Mark and I are about to go grab some chow when, somehow, we end up in a Chinese photo barrage. A CPB is when someone whips out a camera and some excitement, and this causes a chain reaction so that every Chinese person has whipped out a camera. And then they basically boss each other around happily until there is a picture of every combination of people possible. No it's true, I think you can find this in the Finite 101 course in any respectable college. (e.g., 15 people total, pics of 2 to 7 people, how many different combinations can you make?)
Because Mark is white, he gets to be in every picture in a CPB. (This too, obviously is worked into the more challenging Finite questions.) So we end up staying there for at least another five solid minutes, sowing our wild oats into a multitude of online photo albums.
NEXT POST: EPILOGUE...
(Photos from Order of Appearance: Beijing Film Academy, alma mater of The Director; my headshot, the fotog did pretty good considering how I'd just got hit in the neck playing street hockey 2 hours prior to the shoot.)Labels: strange encounters