HOUSE OVERSIGHT 021243 of Art. Gekko, who used to be a sponsor or honoree of such events, cannot even afford a ticket. The shot starts with a barking seal jumping for fish, then pans down to the actors. Extras weave in and out. In one take Michael makes a wrong turn and ends up at the monkey house. Everyone laughs. The atmosphere on the set is courteous but quick and tense. There is pressure when you are making a sequel to a hit. I watch the action on monitors while sitting on the producers canvas chairs with Pressman, Eric Kopeloff ("Monsters Ball") and Celia Costas, who was a location manager on the first "Wall Street." They have asked me to be an extra in the Alzheimer's Ball scene and bring some friends to play rich Upper East Side socialites. Oliver wants over the top glam, go-to-the-vault jewels and couture gowns. "Give me the night before the Titanic goes down," were his exact words. Not a problem. I pay a quick visit to Michael in his trailer on Fifth Avenue where he is resting. We go way back. I was his personal publicist when he won the Golden Globe and Oscar for Best Actor for "Wall Street" and we have remained great friends. Gekko is just as challenging for him the second time because of endless pages of technical financial dialogue. We discuss Catherine Zeta-Jones' Broadway debut in a "Little Night Music." Michael has a stack of partially finished handwritten thank you notes next to him for gifts received for their shared birthday party on September 25th at the St. Regis. Her 40th and his 65th. I tell him I have been cast as an extra in two scenes and he laughs knowing I am desperate to hang around him and the production. 8:30 a.m. on Wednesday, October 21st, another warm, stunning fall day. I report to the wardrobe trailer on 65th Street and Madison Avenue. I carry four elaborate cocktail dresses and bags of matching accessories. My hair is in rollers. Statuesque Julia Koch walks over from her Park Avenue apartment carrying her white