Attempted Transportation in Thailand

Bangkok, circa 2003 – It’s the next-to-last night of my first business trip to Asia. I want to get something local for my wife. One of the hotel staff kindly writes the name and address of a major shopping center on the back of the hotel business card. Perfect.

I flag a taxi. He speaks little English and I speak no Thai. I show him the business card. He looks it over and nods. I get in and off we go. He’s asking questions. I repeat the bit about the shopping center and show him the card again. We lurch slowly forward in the crazy traffic. After a few blocks, he pulls over and calls out to a pedestrian.

The guy on the street doesn’t know what either of us is talking about. The driver shrugs and waves me out of the cab. I disembark. We haven’t gone far enough to cost me a fare. The taxi drives away as the guy on the street points toward some tuk-tuks, the three-wheeled motorcycles that go everywhere in Thailand. My ride is now reduced by one wheel and a couple of cylinders, but I might still be able to get to the shopping center on time.

I show my business card to the nearest tuk-tuk driver. He looks at it. Another driver looks at it with him. The business card draws a small crowd that now includes the rest of the tuk-tuk drivers and various passersby who wonder what’s so interesting. There is much discussion, much gesticulation, much shaking of heads. The passersby move on. The tuk-tuk drivers disperse. A champion emerges.

A guy who’s less than half my size hands the business card back to me and strides confidently toward a gated area, waving to me to follow. He’s getting his scooter. Scooter? I do the math: I started with a taxi, went down to a tuk-tuk, and have now deducted one more wheel, all of the doors, and most of the engine.

When I mention the shopping center, Mr. Confidence nods repeatedly. He dons a plastic army man helmet and hands one to me. I place it on top of my head where it sits like an abandoned turtle shell stranded on a boulder. The strap ends dangle just below my earlobes. Even if I could buckle it on, this helmet would cause more cranial damage than it would prevent.

Clearly, this will not work, but what’s next? One less wheel and I’ll be riding shotgun on a unicycle.

The shopping center is closing soon. I return the plastic army man helmet to Mr. Confidence and start walking back to the hotel. I get lost only once.

Later, I sketch out how I imagine Mr. Confidence and me on the scooter. I envision a death-defying wheelie when he hits the gas.

I will try again tomorrow–on foot.

Thailand_Mark on a Scooter

The Signature

Portland, OR, Circa 2006 – I’m standing in the Art section of Powell Books. A particular shelf has seized my attention. It holds a dozen or so copies of a book that is new to me. I bring down a copy and begin to peruse the pages. It’s an artist’s sketchbook, fully realized as a hard-bound publication. It offers more than I could have asked for: droll yet entertaining text with insights into the process and the experience, page after page of creative, imaginative depictions of fantastic places, objects and creatures; musings on how such ideas arise…

The pencil drawings are rendered deftly–almost casually–but with such skill! The designs are out of this world, and fully believable. The environments are evocative. I aspire to draw like this!

So engrossing is the book that I do not immediately notice what’s happening on the other side of a projection screen facing rows of chairs a short distance away. A man is speaking in a gentle voice with quiet enthusiasm. The audience laughs appreciatively at one thing or another.

Somehow, what he is saying correlates to the drawings I’m studying. Minutes later, I come to the realization that the man is speaking in first person–that this is, in fact, the very artist whose Lord of the Rings Sketchbook I hold in my hands.

I close the book and walk around the edge of the now-standing-room-only crowd facing the projection screen. Alan Lee is saying things like, “I eventually left art school because we didn’t seem to be doing much drawing,” and “The film deadlines were so tight, we all got very good at Photoshop; we would just paste a few figures onto a photo of New Zealand.”

He carries on for maybe half an hour more, holding us in rapt attention. When he is done, he sits down at a small desk while a staff member announces that Mr. Lee will be available for autographs. Ping suggests that I buy the book and have it signed. I tend to be reluctant to ask for autographs. I don’t quite know what they mean, I guess. The people who quickly form a long line leading to the desk have no such misgivings.

I buy the book and join the queue behind a guy who has a moving box full of Alan Lee art: books, calendars, posters, etc. I have a long time to wait. I watch Mr. Lee stand up and shake the hand of every person who comes to the desk. He does this for everyone, without exception. Then he sits down and signs whatever thing they have for him. He is neither hurried nor harried. I’m impressed. The line inches forward.

When the guy in front of me gets to the desk, he launches into a “great fan of yours” speech. Mr. Lee listens quietly until it becomes obvious that the guy wants him to sign every bit of memorabilia in the box. “How about if I sign these two?” says Mr. Lee. The box holder relents.

Now it’s my turn. Alan Lee stands up, looks me in the eye and asks my name. We shake hands. I give him my new copy of his sketchbook. Opening it to the title page, he asks: “How would you like me to sign it?”

I balk. I have no idea. We’ve just met. What do I want from Alan Lee?

I don’t want to be a bother. I say: “Whatever you like is fine.” I’ve given him nothing.

Graciously, he writes a brief dedication, signs beneath it and hands the book back to me with a smile. I thank him and move on so he can continue with the rest of the line. I’ve not been too much of a bother.

I’ve had years to think about this. I know what I would ask for now. From what I have seen of Alan Lee, he would happily give it to me. Time is not linear, so I have gone back and asked for what I really wanted.  I got it.

When I read his signature now, it says this to me:

To Mark–
   Keep drawing!
     Alan Lee

I have done so, Mr. Lee; I have indeed. Thank you.

Alan Lee Sketchbook