HOUSE OVERSIGHT 032007 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 Valentino and long diamond earrings. Her real-life financial titan husband David is unaware where she is this morning. Vanity Fair's keeper of the Best Dressed List, Amy Fine Collins, arrives totally organized in turquoise vintage Geoffrey Beene, and Vogue's fashion editor Hamish Bowles wears a riot of plaids, patterns and a large yellow fake flower on his lapel. Costume Designer Ellen Mirojnick, who created Gordon Gekko's rich slick look in the first film, is ecstatic with the extras I invited. Oliver is shooting a scene with Josh Brolin (the star of Stone's "W"). His character Bretton (never Bret) James, a ruthless Wall Street kingpin, and his perfect wife Samantha (Noelle Beck) are hosting a benefit piano recital for a 13-year-old child prodigy in their huge, art-filled townhouse at 41 East 65th Street. The building actually belongs to Baby Jane Holzer, a wealthy art collector still famous for hanging with Andy Warhol in the '60s. The production designer had Jane's fabulous Warhols moved to storage and replaced with matching photographic copies. Very expensive contemporary art is again an important production element of Oliver's vision. At 10:30 a.m., all the extras are placed around the living room set. Oliver's French mother, Jacqueline Stone, and her friend Monique Van Vooren, both in their 80s, are seated in front of the fireplace chatting in French. Production assistants fuss over them. Debonair macho man Chuck Pfieffer, who appeared in the original film, and I immediately