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We told Angeli Bayani to come as she wanted to be photographed, and she came as herself.
It is not easy being an Asian-American actor in the United States. It is an uphill struggle. Successes are few and far between (think “M. Butterfly” or “The Romance of Magno Rubio”). Many are called (hundreds and hundreds audition) but few are chosen.
“August: Osage County,” the Pulitzer Prize and Tony Award-winning play by actor-writer Tracy Letts, is set in Pawhuska, Oklahoma, a speck of a town of less than 4,000 people somewhere in the Great American Plains. The state is just north of Texas, so it’s perfectly acceptable to assume that they must speak in a sort of Southern accent there.
Two moments are etched forever in the mind of indie film star Angeli Bayani, who is riding the twin waves of success brought about by the international acclaim surrounding her two films: Anthony Chen’s “Ilo Ilo” and Lav Diaz’s “Norte: Hangganan ng Kasaysayan.”
Haggling for talent fees but getting paid less than what was agreed upon. Negotiations conducted through text messages, with no official contract to back up the deal. Having the same talent fee for the last five years. Enduring long hours of taping in a rugged out-of-town location and provided only with monobloc chairs as bed for much-needed rest.
