Situation Normal: All Made Up

I got onto the subway train with my face and hands smudged, looking like I rolled around in the dirt all day. Of course, this being NYC, no one gave me a second look. Maybe they thought I still haven’t recovered from Halloween. More likely though, they didn’t think about it at all – once they decided that I didn’t look or smell like a homeless person. It takes a lot to make a New Yorker give up their hard-won seat on the subway.

It was actually makeup from Hollywood’s version of Occupy Wall Street – shooting on the set of The Dark Knight Rises – the latest Batman movie from director Chris Nolan, starring Christian Bale (Batman), Gary Oldman (Commissioner Gordon), Anne Hathaway (Catwoman), Tom Hardy (Bane), and others.

Here’s a taste of one of the mass fight scenes, filmed by someone who lives above Wall Street, where we were shooting. I was one of over 1000 extras, which apparently breaks the record for the number of paid extras used for shooting a movie in NYC.

Showbiz is often surreal. One moment you’re running down Wall Street, screaming your head off with a thousand other people in full costume. Next thing you know, you’re stepping beyond the barricades surrounding the set, back to the “real world” of paying taxes, hanging out with friends, and having fun the normal way, like going to the movies… oh wait. Is the real world actually that different?

Wardrobe? Business clothes – check.
Hair & makeup? You have to look the right way every day – check.
Script? “To be or not to be, that is the question” vs. “let’s get on the same page about the synergies from pooling these value-added services with your portfolio” – check.
Credit? You get a title to play a role on the company org chart – check.
Resume? Listing your professional training, experience and skills – check!

Of course – there are differences, if you want to nitpick. Perhaps showbiz is a little more upfront about the fact that you’re putting on a show. And the same applies in reverse – show business is just that – a business. However, that doesn’t take away the creativity – just as there are showbiz people who are great on the business side, there are designers and engineers and managers in the corporate world who are just as creative as anybody in showbiz. Just specific skills applied in different contexts. And I will always admire and respect professional behavior and spectacular work, wherever I encounter it.


“Crazay” Music Video Shoot

The “Crazay” music video shoot was an adventure all around. The song is from the first album of up-and-coming rap artist Honors English, produced by Grammy-award winning producer Needlz.

Honors English "Crazay" music video shoot - October 31, 2011

It was shot using the Phantom Flex digital camera, which is capable of ultra-high framerates (up to 2500 fps!!!). The cast were dressed in martial arts outfits, doing our moves – and it looks fantastic in super slow motion. There were also some other amazing shots, which I’ll leave as a surprise until the music video is released.

Honors English "Crazay" music video shoot - October 31, 2011

We were doing great, then of course, the freak snowstorm hit. In October!!! About a foot of heavy, wet snow, 2 million people without power – including our location. With no power, we couldn’t shoot. So we wrapped early for the day, and finished up the next day with a minimal cast and crew. I got my workout – doing both production assistant work as well as my scenes. It was a tiring, but fun shoot. Can’t wait to see the finished music video!

Honors English "Crazay" music video shoot - October 31, 2011

Update: Here’s the finished video!


Practice Just Enough

Yesterday, I went to an audition/shoot for an industrial. By that I mean, the audition was also the shoot – with full lighting, sound, makeup. They’ll pick from the audition footage to edit into the final cut.

The client is a global company, and the idea is that we’re speaking selected quotes in different languages. So the waiting area was like a mini-United Nations, full of people of different backgrounds.

I understand why they did it – saves a lot of time and money. Otherwise they’d have to review the audition footage, book the talent, then have them come back in again and do the actual shoot. This way they can get it all done in one shot.

But this also makes it tricky to pull off logistically. Normally, with industrials, the text is very tightly controlled and approved at multiple levels ahead of time. With so many languages involved, the text was an issue: not all the translations were available, and a lot of the translations needed tweaking. For example, the Chinese quotes were really only appropriate for Mandarin. For Cantonese in a conversational style, they had to be tweaked: not only pronunciation, but also changes in the phrasing or substituting words.

I got a copy of the script over the weekend, but it had only the English quotes. I did a first pass translation of the Chinese quotes using Google Translate. Then I consulted my in-house Chinese languages experts: my parents. We went through the text to tweak it for what it should be in Cantonese. This is more difficult than you’d think, since Cantonese doesn’t have a canonical written form – the way it’s spoken is pretty slangy. I repeated the phrases a bunch of times, until I’m pretty clear what the Cantonese should be, and it was relatively smooth. I even recorded me saying them while I had my parents on the phone, to make sure I’d still be able to remember them later.

The morning of the shoot, I received a copy of the Chinese script. Luckily, my audition time was not til late afternoon. I started practicing with the new script, which is largely similarly to the final version of what we worked out the night before. I printed out the quotes in big letters, and taped them to the wall, to simulate what a teleprompter would be like. I sent my dad the new script, and he helped me do the final tweaks on the text. Then back to more practice. At first I used text with all my markings on it, but eventually I moved to their text as they had it – since I don’t know if I’d be able to use my sheets, and I might have to rely purely on their teleprompter with the original Chinese text.

By the time I arrived on set, I’d practiced those quotes probably hundreds of times. Even though the director offered to let me use my sheets, I opted for the teleprompter – I was used to seeing the original text at this point. We started off with the longest quote of the bunch. The first couple of run-throughs were a little stiff and with a few stumbles, as I got used to the teleprompter. Then I got into my groove, and it was pretty smooth. I could take my time with the words, put the inflections and emphases in the right places, and say it like I was talking naturally. Just like I practiced.

Looking back, maybe it was a good thing I only had a day or two to practice. The work I did was focused, I didn’t waste time, and I didn’t expend excessive amounts of effort. When you don’t have a lot of time, all you can do is rely on your foundation of training, and hone it for the particular situation.

I’m a native Cantonese speaker, so even with having to do my own translation, I managed to pull it off. Now, if I had to do it in Mandarin, I’d have had a whole lot more trouble – I don’t even know how to pronounce a lot of the words in Mandarin correctly!

The lesson is: be who you are, do what you know, train hard before you need it, sharpen it for the occasion, and hit it out of the park.


“Cargo” – Theatrical Release and Premiere

Movie poster for Cargo

Cargo, a feature film about human trafficking, was released into limited theatrical release on Friday, October 21, 2011 at the Quad Cinema in NYC.

Cargo is the latest feature film produced by Persona Films – a production company which I’ve had the pleasure of working with on a few of their commercials. For Cargo, they asked me to work background on their last night of shooting, as a paramedic.

That was two years ago. Since then, they finished editing the film, and started showing it at various film festivals, most recently winning the Grand Jury Award at the New Hampshire Film Festival. Wanting to “release Cargo in a theater in New York City in order to spread awareness of the issue of sex trade in our society”, Persona Films launched a successful Kickstarter campaign, raising over $25,000 in a month. In the process, they made Kickstarter history: the one millionth backer was someone who had pledged to support Cargo! And the latest good news is that UNICEF has announced that the organization will provide its support for the film. Hopefully that means that Cargo will be seen in many more places in the US and abroad.

At the premiere and after party, I was thrilled to celebrate with my friends from Persona Films: Yan Vizinberg (director), Abigail Honor (editor), and Chris Cooper (producer). I also caught up with writer Lee Peterkin, who actually was the Knight in the CMS Forex “Arena” we shot together (I was the Ninja who whacked him upside the head with nunchuks).

Earlier this year, I had the inkling of a dream: to one day be sitting in a movie theater, and see my name in the credits – as an actor, stuntman, whatever. At the time, I had no idea exactly how that was suppose to happen – since nothing in the movie business is guaranteed. In a way, it seemed like an impossible dream (or at least, highly improbable). And now, a few short months later, I am sitting in a packed theater at the movie premiere of Cargo, watching my name scroll across the screen. The universe already had everything in place… I just didn’t know it yet. I’ll have to remember this the next time I have doubts about anything.

Cargo official site
Cargo Facebook page
Persona Films