The Sheik and I Page #3

AT NIGHT, AND I SAW PLACES

OH, THAT LOOKS GOOD.

LET'S SHOOT IT RIGHT THERE.

AND WE WERE JUST, YOU KNOW,

FIGURING OUT THE SHOT.

TRY NOT TO LOOK TOO--

TOO LIKE A CREEPY

OUTSIDE SO THAT THE FAMILY

DOESN'T COME OUT AND YELL

AT US.

YEAH. WELL, JUS

I'M SAYING STAND MAYBE

ON THIS SIDE OF THE FENCE

UNTIL WE ACTUALLY

SHOOT IT, THEN...

OH, YEAH. SO WHEN YOU SEE

OUR CAR COME ROUND

YOU CAN JUST GO INSIDE INTO--

YES...

JUST THAT LITTLE DOORWAY.

AND JUST DUCK:

AROUND THE CORNER.

[CHATTER]

WE HAVE TO SHOW HIM THE

BLOCKING OF THE MOVEMENTS.

[CHATTER]

SORRY?

THIS ONE.

OH REALLY?

THIS IS THE WHAT?

SHEIKHA.

YOU CAN FACE THE

PROBLEM FOR THIS.

YEAH, HIS DAUGHTER'S HOUSE.

YEAH.

SO WE HAVE THE LETTER STILL?

DO YOU STILL HAVE THAT?

FOR SECURITY REASON...

BUT I DON'T THINK

WE CAN DO THAT WITHOU

BECAUSE SHE'S NOT HERE.

AND TO CALL HER,

TO SAY THAT WE ARE AT...

I DON'T KNOW.

YOU KNOW HER, RIGHT?

YOU MET HER, RIGHT?

WE'RE NOT GOING

INSIDE AT ALL.

WELL, WHAT'S THE WORS THAT CAN HAPPEN?

SO WE LEFT.

AND I WAS BUMMED.

WHAT IF... IT WOULD BE...

IS THERE ANY WAY...

RIGHT.

MAYBE THIS IS:

PALESTINIAN MENTALITY

WORKING AS WELL, YOU KNOW.

I'M SORRY?

AHAH, AHAH.

RIGHT RIGHT RIGHT.

RIGHT.

YEAH, BUT THAT'S--

AGAIN--

A CAMERA AND A GUN

IS DANGEROUS.

AND WE'RE GOING TO DO SHOOTING,

IT'S DANGEROUS.

YEAH.

BUT I THOUGHT, YOU KNOW

WHAT WE SHOULD DO FOR THE MOVIE?

WE SHOULD SHOOT THAT SCENE.

WE SHOULD RE-ENACT THE SCENE

OF US TRYING TO SHOO

THE SCENE THAT WAS ALREADY

A RE-ENACTMENT OF A FANTASY

AND THE POLICE COME.

OR MAYBE WHILE WE'RE ARGUING,

THE POLICE COME.

BUT, ANYWAY, THE POLICE COME.

WHERE?

IN FRONT OF THE MUSEUM.

IN FRONT OF THE ART MUSEUM,

THE SHARJAH ART MUSEUM.

IT'S FOR THE

SHARJAH ART MUSEUM.

PERMISSION TO FILM FOR US,

BUT WE WANT TO USE A POLICE VAN.

CARD?

YEAH.

OH, ID CARD.

IT'S IN THERE.

DOES THAT LOOK GOOD?

IS THE WHITE ONE BETTER?

MAYBE BLACK AND WHITE INSTEAD

OF BROWN AND WHITE.

SO I THINK IT'S EITHER BLACK AND

WHITE, OR THE WHITE, OR THIS.

MICHAEL? WHAT DO YOU THINK?

I SAY BROWN OR WHITE.

DO YOU WANT ME TO OPEN?

NO, NO. I DON'T THINK

HE UNDERSTANDS.

CAN I SEE THE PICTURE?

INTERESTING.

IT'S HARD TO DECIDE, ISN'T IT?

YES.

SO WE WENT TO THE

SHARJAH ART FOUNDATION

TO ASK FOR PERMISSION

FROM THE SHEIKHA TO SHOO

IN FRONT OF HER HOUSE, AND

SOME POLICE CARS

AND SOME POLICEMEN

TO ACT IN OUR MOVIE.

AND THEY LIKE:

TALKED TO FATIMAH.

OH.

SHE'S NOT HERE YET.

OKAY.

FATIMAH WAS NEVER THERE.

I'M LIKE, WHERE IS SHE?

YOU KNOW, THEY SAID,

OH, SHE'S PRAYING.

WHICH IS GREAT IF YOU

PRAY ALL THE TIME,

BUT, LIKE, SHE WAS

NEVER AT HER DESK.

YEAH.

COME ON, SHE'S NOT PRAYING

ALL DAY LONG EVERY DAY.

SHE LEFT.

[LAUGHING]

OH.

OKAY.

OKAY.

YAZAN SAID THAT YOU WERE

THE PERSON WE SHOULD...

NO PHOTOS?

OF YOU?

NO, NO, NO, NO.

YEAH.

NO PHOTOS.

YOU ALREADY ASKED THEM?

UH-HUH.

WELL, WE'RE JUST GOING

TO SHOOT ON THE STREET.

WE'RE JUST GOING

TO SHOOT ON THE STREE

IN FRONT OF THE HOUSE.

OKAY.

YEAH.

OH.

THE THINGS THEY WOULD SAY

DIDN'T MAKE ANY SENSE.

YOU KNOW, LIKE, THEY WOULD GIVE

A REASON FOR SOMETHING,

BUT IT MADE NO SENSE.

SO YOU'RE LIKE, OKAY,

WELL, THEY'RE LYING.

AND THEN YOU'RE FALLING

INTO THE CLICHE:

KIND OF THING OF

THEY ALL LIE OR SOMETHING,

BUT THEY REALLY KIND OF DO.

I MEAN, I CAN SAY

THIS BECAUSE MY PARENTS

ARE FROM IRAN.

SO I'M IRANIAN, BASICALLY.

I MEAN, I WAS BORN IN THE US,

BUT I'VE SEEN IT.

I'VE SEEN IT IN ACTION,

IN THE CULTURE, LIKE, YOU KNOW.

AND THEY DON'T CALL IT LYING.

THEY CALL IT,

YOU KNOW, WHATEVER.

POLITENESS, I GUESS.

BUT, UM,

YOU KNOW, IT'S LYING.

AND WHAT ABOUT THE JAIL

AND THE POLICE VAN?

CAN WE USE THOSE?

SO NO ONE HAS ASKED

THEM FOR THAT YET?

JUST SHOOTING THE--

WHAT DID THEY SAY

'NO' TO EXACTLY?

THE 'NO' WAS TO WHAT?

WHAT?

YOU KNOW I DIDN' WANT TO EMBARRASS HER, LIKE

I MEAN, I'M EMBARRASSING

HER NOW, I GUESS.

BUT I DIDN'T WAN TO EMBARRASS HER AT THE TIME.

HI, SO...

UM, AND WE JUST NEED...

TWO BODYGUARDS,

YOU TOLD ME THE LAST TIME.

YEAH, WE WANTED TO SHOO A SCENE IN FRONT OF THE

SHEIK'S DAUGHTER'S HOUSE.

SHEIK?

SHEIK'S DAUGHTER.

WHAT'S HER NAME?

WHAT'S THE NAME OF...?

THE DAUGHTER.

THE DAUGHTER? OH, HOOR.

YES, HOOR.

OKAY.

HOOR?

YEAH. WANT TO SHOOT A SCENE

IN FRONT OF HER HOUSE.

HOUSE? OKAY.

I THOUGHT SHE SAID

THAT SHE ALREADY ASKED,

AND THEY SAID NO.

IS THAT-- DID I MISUNDERSTAND

ABOUT USING THE HOUSE?

DID SHE EVEN ASK?

I WILL CHECK WITH HER AGAIN.

UH-HUH.

AND THEN THE LAST THING

WAS JUST, WE WERE WONDERING

IF WE COULD ALSO MAYBE USE

THE SHEIK HIMSELF IN THE MOVIE.

YEAH, OKAY.

IT WILL BE REALLY HARD,

YOU KNOW.

YES.

OKAY, OKAY.

OKAY?

I FORGOT SOMETHING

ELSE THAT HAPPENED.

ONE DAY I'M AT THE

SHARJAH ART FOUNDATION

IN PART TRYING TO GE PERMISSION FOR SOMETHING.

AND I BROUGHT ALONG THE RELEASE

FORM FOR YAZAN TO SIGN, RIGHT?

I SAID, I'M SORRY I FORGO TO GIVE YOU A RELEASE FORM.

YOU HAVE TO SIGN THIS.

AND HE SAID...

OH.

AND I WAS LIKE, REALLY?

YOU'LL GET IN TROUBLE FOR THAT?

AND I SAID, NO, NO, NO.

I WAS TOLD THERE

WERE CERTAIN CONSTRAINTS.

AND I SAID, "WELL, IF YOU'RE

"GOING TO GET IN TROUBLE,

THEN I'LL TAKE IT OUT.

I MEAN, IT'S FINE."

AND I STARTED TO SENSE

LIKE THIS INCREASING

TENSION BETWEEN THE

SHARJAH ART FOUNDATION AND US.

YEAH.

YOU SEE, THE PUBLIC SPACE

HERE IS PEOPLE IN PUBLIC

HAVE A CERTAIN IMAGE

AND PRIVATE IS SOMETHING ELSE,

BUT THEY DON'T LIKE TO--

THEY FEEL IT'S STOLEN

FROM THEM.

I ALSO FORGOT THIS ONE

PART, YOU KNOW.

MANSOUR TOLD US THAT HIS SON

WAS REALLY EXCITED

THAT HIS FATHER:

WAS ACTING IN A MOVIE.

I JUST HAVE TO PICK

SOMETHING UP.

I JUST HAVE TO...

PICK SOMETHING UP.

...PICK SOMETHING UP.

[WOMAN] YES. CLOSE. AGAIN.

I JUST HAVE TO PICK

PICK SOME... SORRY.

IT'LL HELP HIM...

YES.

I JUST HAVE TO PICK-PICK...

TELL ME WHAT--

ARE YOU SHOOTING?

AND I WAS THINKING, MAYBE

WE CAN PUT THE SON IN THE MOVIE.

MAYBE THE SON WOULD ENJOY BEING

IN THE MOVIE, TOO, WITH HIS DAD.

MAYBE WE COULD WRITE A SCENE

FOR THE SON TO BE IN AND ALSO

BESIDES HIS DAD.

SO I THOUGHT, WELL,

WE SHOULD ASK HIS KID.

SO YOU SAID YOUR SON

IS IN PAKISTAN?

SO HE LIVES THERE

ALL THE TIME?

DOES HE COME HERE OFTEN?

YEAH.

WILL HE BE HERE:

FOR THE BIENNIAL?

YEAH, SOMETIME.

NICE JOB.

I WOULD NEVER DO THAT.

I ASSUME.

YEAH.

SWEETIE,

LET ME PUT THIS ON NOW.

NO, NO.

YES, YES, YES.

IT'S IMPORTANT FOR THE MOVIE.

IT'S FOR THE MOVIE.

NO, NO, NO.

COME, ON, BECKETT,

JUST THE SHIRT.

IT WON'T KILL YOU.

OKAY. YES.

NO. NO...

YES, YES, YES, YES...

YES, YES, YES.

NO. NO...

YES, YES...

NO!

PLEASE.

NO!

PLEASE.

NO. NO. NO.

IT'S GOING TO BE GOOD,

BECKETT.

COME ON.

COME ON.

GIVE ME YOUR HAND.

GIVE ME YOUR HAND.

GIVE ME YOUR HAND,

BECKETT. IT'S OKAY.

WE'RE GOING TO GO

INTO THE MOSQUE.

BECKETT, WE'RE GOING

INTO THE MOSQUE.

WE'RE GOING INTO THE MOSQUE.

WE'RE GOING

INTO THE MOSQUE, BECKETT.

IT WON'T.

I PROMISE.

OKAY, FINE.

OKAY, FINE. OKAY, FINE.

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