Source: NYT (7/14/16)
The American Who Accidentally Became a Chinese Movie Star
The journey of Jonathan Kos-Read, better known as Cao Cao, is a good guide for anyone seeking to make it in China’s budding, chaotic film industry.
By MITCH MOXLEY
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Every foreigner living in China has his share of China Stories. Jonathan Kos-Read has more than his share. Here’s one: Not long ago, the 43-year-old American actor received a call with an offer to appear in “Ip Man 3,” the third in a series of biopics about Bruce Lee’s martial-arts master. The role was small, but his agent negotiated what Kos-Read considered an “outrageous” amount of money for it, and the producers agreed. Kos-Read was thrilled until he read the script and noticed another part for a foreign actor — a bigger and better role as a mobster named Frank.
This was troubling. Kos-Read, who is known in China only as Cao Cao, is by far the leading foreign actor working in the country today, having appeared in about 100 movies and television programs since his career began in 1999. He is famous throughout the mainland, and his career has been on a steady upward trajectory. Last December he appeared in the action film “Mojin — The Lost Legend,” currently the fifth-highest-grossing movie in Chinese history. Who, Kos-Read wondered, would the producers have cast instead of him?
Kos-Read sent panicked texts to the movie’s casting director, but they went unanswered. “I felt threatened,” he told me recently, only half kidding. A few days later, he boarded a plane from Beijing to Shanghai to begin filming. When he showed up to the set, the mystery was solved almost immediately: There, slouching on a stool surrounded by a scrum of people, was the former heavyweight champion of the world Mike Tyson. The retired fighter had been cast, perhaps misguidedly, as Frank. (The Village Voice later described Tyson’s performance in the film as “sadly unimpressive.”) Kos-Read introduced himself and over the next three days developed a bond with Tyson. “He was not at all what I expected,” Kos-Read says. The pair discussed their young daughters, Montessori schools and, inevitably, boxing. They also spoke about self-reinvention, something each man knows quite a bit about.
“Ip Man 3” went on to gross $115 million at the box office in China, with more than half of that coming on the opening weekend. China’s booming movie market grew by nearly 50 percent last year and is expected to surpass North America’s as the largest in the world by next year. These days, Hollywood studios hardly greenlight a blockbuster without first asking, “How will this play in China?” The rewards are too vast. “Furious 7,” for example, earned $390 million in China — more than it made in the United States — and was for a time the highest-grossing film ever in the country.
And just as Hollywood has begun to crack the market, Chinese cinema has come into its own. In recent years, Chinese studios have started shifting away from the agitprop that defined their cinematic output for generations and are instead focusing on genres that draw viewers to theaters in any country: action, adventure, comedy. In February, a sci-fi comedy called “The Mermaid” became the highest-grossing movie ever in China within 12 days of its release, earning more than $430 million. Increasingly, Chinese cinemagoers are opting to buy tickets for movies made specifically for them — like those in the “Ip Man” series — not those that pander to them or lecture them. It is in this sort of film that Kos-Read has finally had the chance to act, rather than portray a stand-in for Western imperiousness. If the Hollywood studios really want to understand how to succeed in China, Kos-Read’s journey makes for a kind of accidental guide.
In January, I met Kos-Read at Beijing Capital International Airport to accompany him on a trip to Yiwu, a trading city in Zhejiang Province, 165 miles from Shanghai. From there we would take a van to Hengdian World Studios, the biggest back lot in the world, where he was filming a new TV series.
Jonathan Kos-Read trying on costumes for “Goodbye! Pili.” CreditSim Chi Yin/VII, for The New York Times
Kos-Read was tired. He had flown in a few days before from the Bay Area, where his wife and two young daughters live; the actor now splits time between the United States and China, which he has called home for almost two decades. Kos-Read has wavy brown hair, a thick beard streaked with gray and the kind of broad face that looks good on camera. He curses a lot and often wears a look of deep contemplation that borders on exasperation. As we boarded the plane for our 10:30 p.m. flight, he sported a huge calf-length black parka, which he wears on set — Chinese sets are notoriously frigid in the wintertime — and carried a heavy backpack filled mostly with equipment for photography, a personal hobby. The airplane was only half full. Kos-Read lumbered through the center aisle until he reached the last row, where he heaved his backpack onto a seat and plopped down into another as if he were claiming a spot on a long-distance bus.
The Many Faces of Cao Cao
During the two-hour flight, Kos-Read drank a few cans of Yanjing Beer and discussed his role in last year’s “Mojin.” In the film, he plays a lawyer to a cult leader. After the first act, he turns into a zombie. It was by far the biggest project of his career, with by far the biggest stars, and it increased his already-formidable exposure in China by degrees of magnitude. On our plane, a flight attendant recognized him from the film. (In California, by contrast, he is basically anonymous outside of Chinatowns.) Kos-Read was happy for the opportunity to appear in such a large movie but was disappointed with his performance, which he believes was adequate but not excellent. “In a lot of TV shows, you just have to spit out the lines, really. But in a big movie, you’ve really got to be good,” he told me. “In my first big movie, I stepped up into the big leagues and hit a single.”
Still, acting in one of the biggest Chinese blockbusters of all time is a long way from where Kos-Read began. Raised in Torrance, Calif., he attended an arts high school, where he got interested in acting. He went on to study film and molecular biology at New York University. There, he took a Mandarin course and became determined to master the language. He moved to Beijing in 1997 and drifted, living for a period in a student dorm and forcing himself to speak nothing but Mandarin for a three-month stretch. “Like everybody else, I arrived and bummed around for two years, not knowing what I was going to do, trying to do a bunch of things, failing,” he says. “Teaching English.”
Not long after he arrived, he began dating a Chinese woman named Li Zhiyin, a finance major in college who later became his wife. On one of their early dates, he picked up an English-language listings magazine and saw an ad seeking a foreign actor for a Chinese movie. Kos-Read had never lost his love for performing, and he thought it could be fun to act in China. He auditioned and got the part, which was supposed to pay the equivalent of about $400 for three months of work. In the movie, called “Mei Shi Zhao Shi” (“Looking for Trouble”), Kos-Read plays an American documentary filmmaker following around a group of disillusioned bohemians. He says it took the producers two years to pay him. But two weeks after the movie wrapped, he landed three months of work on a Chinese soap opera.
There were only a handful of foreign actors working in China at the time, and Kos-Read quickly realized he offered filmmakers there a rare combination of traits. He spoke good Mandarin, was a decent actor and had a look that many Chinese consider typically “American”: six feet tall, square jaw, blue eyes. He was able to make a living in the industry, but his early roles weren’t great. At that stage of his career, most filmmakers still had limited exposure to foreigners and foreign cultures, and his early parts tended to reflect Chinese stereotypes of Westerners. He rarely played bad guys, because there are very few American villains in Chinese movies (those roles tend to go to the woeful cohort of Japanese actors working in China). Instead, Kos-Read was often typecast as a “dumb guy,” he says. Most frequently, he was an arrogant foreign businessman who falls for a local beauty, only to be spurned as she inevitably makes the virtuous choice to stay with her Chinese suitor. Sometimes he played the foreign friend whose presence onscreen is intended to make the main character seem more worldly; Kos-Read dubbed another stock character “the fool,” an arrogant Westerner whose disdain for China is, by the end of the movie, transformed into admiration.
When he was studying Mandarin at N.Y.U., Kos-Read adopted a Chinese moniker, as many language students do. He took his, Cao Cao, from a historical general who is also a central character in one of the country’s most revered classical novels, “Romance of the Three Kingdoms.” Like a Chinese King Arthur or Davy Crockett, the original Cao Cao exists in fact and fiction and in between. Kos-Read chose the name because it was easy to remember and because he liked that Cao Cao was a wise, self-reliant man. Years later, the decision would prove wise indeed. To his Chinese audience, it showed that the American, despite his loutish onscreen personae, took an interest in their history and culture.
Kos-Read acted in film and television for almost a decade before he truly found fame. Before the 2008 Beijing Olympic Games, he landed his own segment on a Chinese news program called “Sunday.” Dubbed “Cao Cao Lai Le” (“Here Comes Cao Cao”), the weekly reality bit was designed to help increase the show’s ratings and give it a more international flavor by allowing Chinese viewers to experience their country anew through a foreigner’s eyes. The segment eventually devolved into Kos-Read more or less being goofy in front of the camera and enlisting Chinese people to cut loose with him. In one episode, for example, he trains to be a Hooters girl. (In China, the chain is known as “American Owl Restaurant.”) The show was enormously popular, and soon Kos-Read was being recognized on the street. “One of the reasons I liked ‘Cao Cao Lai Le’ — it was me,” he says. “Instead of playing stupid stereotypes on TV and in movies, I could go out and be me. It’s my personal prejudice that I’m more interesting than the characters I play.”
In 2009, Kos-Read began writing a column called “Token White Guy” for an expat publication, Talk Magazine, in which he chronicled his on- and off-screen adventures. He wrote about the time an acquaintance enlisted him to act in an ad campaign, Kos-Read’s first. His friend told him the product was “some sort of medicine.” Then, Kos-Read showed up on set and read his line, which was written in English: “Do you want to be thicker, longer and harder? Then be like Cao Cao and use Strong Balls Hormone.” (He dropped the ad.) He wrote about the time he was cast to play an English Jew who falls in love with a prostitute and, riddled with guilt, drops to his knees and prays for forgiveness — from Jesus. And the time a Chinese magazine wrote a multipage, entirely fictitious profile of him, and then emailed him a copy.
“Cao Cao Lai Le” ran for about three years before the struggling “Sunday” dropped it (“Sunday” soon went off the air as well), but it led to better roles in film and TV and a long line of travel-show hosting gigs, which took him to virtually every region of China — from the deserts of the west to the grasslands of the north to the hilly metropolis of Chongqing.
Hengdian World Studios is sprawling and surreal, covering 8,000 acres and featuring a one-to-one scale model of Beijing’s Forbidden City. “You walk around, and you can’t tell the difference,” Kos-Read told me as we drove past the complex on the way to the set the next morning. Around the lot, different shows were being filmed. Tourists are allowed on set for 199 yuan ($30) per person, and groups of them were huddled around as filming took place. It offered a considerably different experience from the one you might encounter at a Universal Studios theme park. “Instead of ‘Jaws,’ it’s, like, killing Japanese or hanging out with the emperor’s concubines,” Kos-Read said.
China’s film industry has long been focused on propaganda-laden historical epics, hence the need for a full-size Forbidden City replica. Even as China became a global superpower in the late 20th century, big-budget Chinese movies were, by and large, treacly, patriotic fare. And though tastes were shifting, the studios used their connections with the government to ensure their own films succeeded. In 2010, for example, the behemoth state-owned studio and distributor China Film Group pulled “Avatar” from 1,628 screens and replaced it with its own film, a Confucius biopic starring Chow Yun Fat.
These days, movies and television shows are still often historical in nature, but they’re less overtly nationalistic and more focused on pure entertainment. Kos-Read was in Hengdian to film a period show with the English title “Knight’s Glove.” In it, he plays the British ambassador to China, a close friend of the Chinese lead. The story surrounds a search for a lost treasure, and on this day the crew was filming the pair’s reunion after years spent apart. The scene was filmed at the entrance to a building made to look like the British Embassy. Cheap-looking plastic Union Jacks fluttered outside in the breeze. Inside, the building was numbingly cold, as Kos-Read had warned; there was no insulation or heating. Russian extras in wool military outfits carried fake rifles and shuffled from side to side trying to keep warm. In between shots, Kos-Read donned his parka and applied heating pads called Nuan Baobao (“Warm Little Buddies”) to his stomach, lower back and feet. There was no coffee or tea; at one point some cast and crew members were handed plastic cups of warm water.
Because the Chinese government allows only 34 foreign movies to enter the market per year, and the officials’ criteria for selection are mysterious, many American studios have sought to lessen the uncertainty by co-producing films with Chinese firms, thereby sidestepping the import rules (which apply only when a movie’s producers want a share of the box-office receipts, which is to say they apply, effectively, to all major Hollywood films). And yet few co-productions have achieved anything resembling commercial or critical success. Not only have studios struggled to find ways to appeal to both audiences, they’ve also struggled to work well together on set. This is at least in part because of the collision of two vastly different moviemaking cultures. Whereas Hollywood film sets have rather rigid, union-determined rules, Chinese sets are decidedly unsystematic, ad hoc, fly-by-the-seat-of-their-pants operations. (I once reported on a film whose special-effects guy was also in charge of payroll.) On this set, there were dozens of people, mostly young men, standing around in the cold who didn’t seem to have any job at all. It’s exactly these sorts of differences that have made Chinese-American co-productions so difficult, and those problems follow them to the box office.
Hollywood can also stack the deck somewhat by pandering to Chinese audiences, but that comes at a cost: It grants enormous leverage to the Communist Party over how China is portrayed. Chinese censors have forced studios to cut scenes that they believed made China look weak. A 2015 report by the U.S.-China Economic and Security Review Commission offered an enlightening selection of anecdotes: In “Skyfall,” Chinese audiences never saw James Bond kill a Chinese security guard, as he does in the original edit; in “Mission: Impossible III,” censors cut a scene shot in Shanghai that showed garments drying on a clothesline; “Men in Black 3” had a scene removed that showed secret agents using a memory-erasing tool, leading some to speculate that the censors didn’t want to invite the allusion to censorship.
Often censors don’t even have to get involved, as studios have begun self-censoring their films to avoid the hassle. “Red Dawn” is perhaps the most infamous case. The 1984 original is about a guerrilla uprising against a Soviet invasion of America; in the 2012 remake, screenwriters updated the movie by casting China as the aggressor. MGM executives realized their error too late, and unwilling to risk offending the censors, they reportedly spent around $1 million in postproduction recasting North Korea as the invader.
Despite the breadth of roles he has played in China, Kos-Read is passed over for most co-productions. Hollywood producers want to bring in their own talent, he says. And once, Chinese producers told him that because of the ubiquity with which he appears in Chinese cinema and television, he would make their production seem too local. He has acted in only two East-West movies: a deep-sea epic funded by a Chinese billionaire with a predominantly foreign cast, and a bigfoot movie shot in Shennongjia, a mountainous region in Hubei Province, where there have been hundreds of purported bigfoot sightings. Each film was plagued with on-set dysfunction, and neither has been released.
Kos-Read says that the reason most co-productions fail is as much about the chaos on the Chinese side as it is the arrogance on the Hollywood side. “They come here and say, ‘We’re from Hollywood, we know better and whatever it is that you think is the right way to do it, it’s by definition not,’ ” he says. “You come in with an attitude like that, you will have a lot of problems. You will misunderstand the kind of stories they want to see.”
Kos-Read, beside co-stars, telling a joke at the Beijing premiere of “Xuanzang.” CreditSim Chi Yin/VII, for The New York Times
And as Chinese filmmakers have figured out what sorts of stories Chinese audiences really want to see, the nature of Kos-Read’s work has changed for the better. Although his part in “Knight’s Glove” wasn’t groundbreaking, he is now often cast in increasingly complex parts.
After the morning’s shoot, we drove across the lot to film another scene. In the back of the van, Kos-Read scrolled through photos on his phone of some of the roles he has played over the last two years, each with a distinct facial-hair style. They included: an American engineer who worked on the first locomotive in China; Gen. Douglas MacArthur; an “[expletive] lawyer”; a World War II radio announcer; a hip-hop dancer; a wisdom-dispensing alcoholic barfly; a Mafia boss; an antiquities expert; a sleazy Russian lounge lizard; a cowboy; a bisexual fashion designer; and a French detective.
Kos-Read believes the growing variety of roles for foreign actors like him is a result of more Chinese exposure to outsiders. “There are more foreign actors now,” he says. “Chinese know some foreigners. So they write more interesting characters. I’m lucky because I usually get to do the better stuff.”
This trend is likely to continue. The money coming from Chinese producers, and the spending power of Chinese audiences, is simply too great to ignore, and anyone venturing to China from Hollywood — whether producer, actor or cameraman — has to learn how to play by Chinese rules. That means adapting stories to the changing desires of film fans, and learning how to cooperate on China’s less regimented movie sets. Hollywood pros may be arrogant, says Jonathan Landreth, editor of the website China Film Insider, who has been covering the Chinese entertainment industry for more than a decade, but “in the melding of minds between China and Hollywood, there’s been a tipping in the balance of power. So much money is driving these productions that the folks in Hollywood have to listen.”
In the afternoon, the director of “Knight’s Glove,” a young man with bleached blond hair, recruited me to play an extra in a scene with Kos-Read. I would be a driver. I wondered aloud who was supposed to have played the driver, but no one answered, and instead I was shepherded outside to a wardrobe truck and outfitted in a World War I-era military uniform with a Brodie helmet.
As I dressed in the truck, Kos-Read approached with a Chinese crew member and said, “They asked me to make sure you knew that they weren’t actually going to pay you or anything.” I laughed. As absurd as it may seem to be yanked from the sidelines in an instant and thrown in front of the camera, this kind of thing happens with surprising regularity for foreigners in China, and moments like these become the kind of China Stories that keep people like Kos-Read around for so long.
We filmed four or five takes of a short scene in the car. I pretended to drive, yanking the steering wheel back and forth with the kind of comical exaggeration you might see in “The Andy Griffith Show.” Two cameras glided on a track and crane outside the car while Kos-Read, sitting in the back, and a young Russian actor, who sat beside me, exchanged a few lines of dialogue. The Russian had until recently been a student in Jinhua, a nearby city, but was now trying his hand at an acting career. Maybe it would have worked out for him had he started a decade and a half ago, like Kos-Read, but his performance didn’t bode well. He struggled with the lines; his English was wooden, the delivery stilted.
Kos-Read, on the other hand, naturally eased into character as soon as they started rolling. He said his lines in a British accent, smoothly and barely above a whisper, looking out the window as the camera swept by.