5.0 out of 5 stars Joy White delivers a powerful performance in the Stranger
By Thomas Maseth on April 22, 2016
Format: Amazon Video Verified Purchase
Joy White delivers a powerful performance in the Stranger. The wide
range of emotions she displays gives her the ability to relate to her
audience. You believe Joy is the character she is portraying. I look
forward to Joy's next project!
I knew Tom Meade for a period of forty years spending time with him in southern California in the 70s, buying cars from him in Italy and, later, getting him out of the West Los Angeles VA Medical Center for dinners in restaurants a couple of times a week after he suffered a stroke. When I decided to combine these outings with casting sessions I was conducting for my (Interview) version française series, Elysée Wednesday was born and the weekly, Wednesday gatherings continued from 2009 until 2014.
During those first gatherings, Tom spoke of a segment 60 Minutes had done on him and his Thomassima III that was but a memory as he was never given a copy of the footage. I determined, there and then, that Tom should have access to the footage and went on a quest to obtain it for him. The video seen above is the result.
To: DiPierro, Daniel
Subject: CBS 60 Minutes archive footage...
I was directed to you after inquiring about archival footage shot for 60 Minutes in 1970 on Tom Meade of Modena, Italy. Tom was the designer/builder of a Ferrari-based supercar known as the Thomassima (see attached photo) and he was the subject of a 60 Minutes segment. Tom would like to know if the footage is available to him.
Here is what Tom gave me:
CBS film library 31935
660 Tom Meade
reporter Winston Burdett
locaton Modena, Italy
2 reels 16mm, comp mag color
I hope this data helps in locating the footage if it still exists in your archive. Please feel free to contact me for further clarification.
We have film here entitled “Tom Meade of Modena” (7/10/70). It’s about ten minutes long. I’ve attached a copy of the archival broadcast printout for you to see. How does Mr. Meade plan on using this material?,
Ann M. Fotiades
CBS News Information Resources
524 West 57th Street
New York, NY 10019
Yesterday, we taped A Series of ONE: The Provocateur which is a one-man show I wrote for Pry'ce Jaymes and makes full use of his enigmatic and powerful nature. It is quite a feat for an actor to hold an audience for the duration of a one-act play without help from other actors or special effects of any kind. The photo above is a screen capture from the production.
The Jerry Fairfax Show was conceived in the Cine Paris repertory company for film and television as a comedy vehicle for Michael Chanslor and was intended as an experimental and innovative show with a non-stop parade of insider humor about show business and the television industry. The show is almost entirely improvisation where I would create gags for the actors on the fly to fit the flow of the show that Michael Chanslor was creating with his improvisation as Jerry. The only materials prepared in advance was the Fairfax Funnies and the guest line-up that Michael would create. The show is "live-to-tape" and shot without breaks from beginning to end.
For nine years, I judged Best Director in a Comedy Series for the CableACE Awards and other members of the Jerry Fairfax cast became judges for the CableACE Awards during production of the 190 shows that we taped.
Sadly, I had not recorded and saved the serial number of the
car and some very nice photos of the car when I owned it went missing when most
of my personal possessions were 'lost at sea'. However, given that the
Quattroporte was never a mass-produced item, supplying Gerhard with the car's
specifications narrowed the field considerably. Here is what he discovered:
"Of this first
series, 260 or 259 have been built. I have 3 white ones in the registry, of 150
registered cars, so I estimate about 5 to 8 produced in white in all, of which
white with brown interior maybe 2 or three?
A very early one is at
the Riverside museum, and it has your colour combination! (although restored,
but probably to original spec) , see here: http://tipo107.com/Maserati107/107.001-298/Seiten/012.html
And it's a European
car, as it has European gauges."
I bought the car from Robbie Crepaldi at the Crepaldi Ferrari dearlership in Milan in 1976 and sold it on in Los Angeles in 1977 or later. I loved the car and the sound of the Maserati V8 was very exotic coming from the rather sexy lines of the Frua-designed sedan.
Given the specifications and circumstances of the car at the Riverside museum, I have to assume it is my car. Interestingly, I had visited the Riverside International Automotive Museum in May of 2013 with Marc Sonnery (http://emcpb.blogspot.com/2013/05/riverside-international-automotive.html) and did not see #012 at that time--maybe it wasn't on display or came to the museum at a later date.
In any event, my thanks to Gerhard Reinecke and his passion for the Tipo 107 and for providing this moment of nostalgia about my involvement with a very interesting car.
By 1981, I had returned from Paris and had already made two movies that I
filmed out in the desert on and around El Mirage, a dry lake bed
located between Los Angeles and Las Vegas. The first was Desert Center with Gérard Ismaël and Georganne LaPiere (who played the original Heather on General Hospital and was Cher Bono's sister) and the second was Success
with Gérard Ismaël and Vinny Argiro (an actor who owned the trendy
men's clothing store Mike Bain on the Sunset Strip). I decided to make a
third film with Gérard when a friend who was an art gallery owner in
Palm Springs offered me the run of the Palm Canyon Hotel, also in Palm
Springs. I could shoot there to my heart's content for as long as I
needed without restriction; it was an offer I couldn't refuse.
that period, I made it a policy to welcome anyone visiting from France
to stay in my apartment at no cost as a way of thanks for the
exceptionally nice treatment I had received during my time in Paris;
giving back, as the saying goes. At the time, I had two
Frenchmen--Serge Georgeon and Yves Morel--living as guests in my
apartment, both involved in their own film projects, who agreed to come
onto the project as actors playing international traffickers of art
forgeries. Serge introduced me to jazz bassist Bunny Brunel who would
score and perform the music for what would become Fait Accompli.
was having difficulty casting a leading lady though I auditioned a
large number of actresses in the weeks leading up to the filming.
Leading men and leading ladies must have qualities that can be optional
in other roles. Not only must they be competent and fascinating, they
must have sexual appeal and, together, they must have chemistry. I was
learning that this was not the easiest combination to achieve.
day, I received a photograph from an actress that took my breath
away--not only was she beautiful and statuesque looking for all the
world like Rachel Ward, she exuded an intelligent playfulness in the
photo that would serve the role very well. I have my leading lady!, I
thought to myself. When the time came for her audition the next morning,
in walked a woman that had nothing in common with what I saw in the
photograph except dark hair. She was much older, much shorter and
weighed at least three times as much as the actress in the photograph I
had received. Feeling, perhaps, that an accurate photo would not have
gotten her any roles, she sent one she (rightly) believed would get her
in the door. Sadly, that's as far as it got her on this occasion.
the heels of this development, Serge suggested that I might want to
consider Bunny's wife Nani who he thought would be perfect. He was
right; she was. A beautiful brunette whose native language was French,
her English was flawless and she had great chemistry with Gérard. Thank
A few days before we were to leave for Ensenada where
I wanted to shoot part of the film, Gérard came to me and told me that
he couldn't go to Mexico. His immigration status required that he stay
in the US and leaving would have interrupted the process causing him no
end of grief. So, here I was with a cast and crew ready to leave for
Mexico minus one leading man. How did that happen?
were to shoot the entire film in California or go to Mexico and add
another role in the film that could take up the slack caused by Gérard's
absence. I decided I wanted the exotic Mexican locations in the film and
quickly put out a notice to find Leading Man, Part B. With only days to
find a candidate, I was not hopeful and could not find what I was
looking for. In the end, it was easier just to play the role myself. I
wrote in a character who is killed in the opening scene and
who we see in punctuating flashbacks through the balance of the film.
His death became the impetus for Gérard's actions in what was a story
of love and revenge.
It would not be the last time I would have
to introduce a new character in a film to take up the slack created by
circumstances; it became a useful solution when I was making Dead Right.
I found that using conservative, 'old Hollywood studio system' concepts
combined with guerrilla filmmaking tactics was a very effective
approach to movie making.
In addition to everything else, Fait Accompli
brought me an unexpected reward. As I was marketing the film to
producer reps, Robert Lecky was one who responded and though another company
took the film, Robert became an important friend and mentor
for almost two decades. He passed in 2000 and is deeply missed.
The video clip seen here is from a Skype session I had with KBaby Nate, an actor in the DMV area. My first task with a new student is to get a sense of his or her natural attributes so as to form an impression of a brand that will take advantage of the actor's unique characteristics.
My immediate reaction to Nate was that I liked him and found him to be very bright and entertaining and these were the salient qualities I wanted to incorporate into his acting brand. I also perceived a slightly mischievous nature that has served Jack Nicholson and Eddie Murphy very well over the years on the big screen. Here is a fellow that is likely the smartest guy in the room and doesn't mind letting everyone know it in his own playful way.
The monologue I've written for him in the clip is a precursor to a one-man show wherein I envision Nate's character taking his life in his hands to have a bit of sport with a very nasty character he's never met before.
How to Shoot a Feature Film in 15 Days (And Survive to See Profits)
Click to buy on Amazon
Click to view on Amazon
Action/ReAction at Stella Adler
Point of Departure
A Series of ONE...
Stephen and Dragonuk
Stephen Mitchell webinar for Stage 32
A review from my new student Louella
(Click on photo)
Ferrari GTO 3987 at speed by Yan denes
Ray D. Shosay's Journal
Dispatches from a (junior) suite in Paris
Ray D. Shosay's Journal (excerpt)
"Saturday, January 27, 2007
They say you can fool some of the people all of the time. Accordingly, I think we should concentrate on this group initially. We can move on to the people you can only fool some of the time at a later date if we deem it necessary. I hope to hear back from my agent about this as soon as he's out of rehab, as I don't think my messages have been getting through."
Ignorance is Bliss by Stephen Mitchell
Kindle or Paperback versions
Exerpt from Ignorance is Bliss
"Out of the corner of his eye, Martin saw Martha shift in her seat. She leaned forward, as though something was about to be decided. This caused her breasts to push up against the neckline of her dress in a way that couldn't be fully appreciated out of the corner of one’s eye. So, Martin turned his head to look directly into the abyss of her cleavage. He was vaguely aware that Murray was talking again."
Carrera Panamericana (1950-54)
Click on poster to buy the poster and DVD
Ferrari GTO 3987
Elysée Wednesday: Drive!
“You ought to meet Steve. The two of you have the same kind of Ferrari.”
Ferrari Berlinetta Lusso
One evening, I was enjoying a John le Carré novel and a glass of Bordeaux...
L'art de l'automobile
My first Lusso prior to restoration
It was only after Sinatra was gone...
Once upon a time...
Meeting Enzo Ferrari
I came across this on a late night stroll in Paris near the Louvre.
Simone Kussatz interviews Stephen Mitchell
(Click on photo)
(Interview) version française
Christine Astrup (Interview) version française
Stevie Williams (Interview)
David Gritten reviews (Interview)
With Roy_M Martens at Cannes
The Film Portal
Rebel, Rebel by Marc Sonnery
Ferrari 'Breadvan' trivia
Stephen interviews Marc Sonnery
Ferrari 250GTO by Stephen Mitchell
Ferraris on Mulholland
Ferrari GTOs at Willow Springs &...
Ferrari GTO in Paris
Stephen Mitchell talks with General Richard Wilmot (part 1)
In 1980, Stephen founded an entertainment industry think tank in the guise of a repertory company for film and
television labeled The New Hollywood Studio System. In 1985, Stephen pioneered a unique application of product integration in branded entertainment with his cable TV series (Interview). In 2006, Stephen authored a protocol for the management and marketing of business executives. He is currently producing a documentary on the Ferrari GTO, one of which he owned for several years.