{"id":248,"date":"2019-04-22T16:53:25","date_gmt":"2019-04-22T20:53:25","guid":{"rendered":"https:\/\/performingartslegacy.org\/freda\/?p=248"},"modified":"2019-04-22T16:53:25","modified_gmt":"2019-04-22T20:53:25","slug":"the-blacklist","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/freda\/the-blacklist\/","title":{"rendered":"The Blacklist"},"content":{"rendered":"

There are times as a co-star on television, you get to work alone  with the two “A-listers”  in your scene. As the portrait painter for James Spader’s character and that of Brian Stokes Mitchell’s, I was very lucky to be cast in this role (I had two names listed, Caio and Polpetto, but they called me Polpetto on set.) Even though I speak some Italian, the production even had an Italian coach for me so my pronunciation was believable to an Italian’s eras! And they spread out my two scenes over eight days, which allowed me to be paid for the week and a day, very generous of them.<\/p>\n

https:\/\/the-blacklist.fandom.com\/wiki\/The_Architect<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

There are times as a co-star on television, you get to work alone  with the two “A-listers”  in your scene. As the portrait painter for James Spader’s character and that of Brian Stokes Mitchell’s, I was very lucky to be cast in this role (I had two names listed, Caio and Polpetto, but they called […]<\/p>\n","protected":false},"author":120,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-248","post","type-post","status-publish","format-standard","hentry","category-highlight"],"metadata":{"_edit_lock":["1555966410:120"]},"acf":[],"_links":{"self":[{"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/posts\/248","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/users\/120"}],"replies":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/comments?post=248"}],"version-history":[{"count":0,"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/posts\/248\/revisions"}],"wp:attachment":[{"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/media?parent=248"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/categories?post=248"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performingartslegacy.org\/freda\/wp-json\/wp\/v2\/tags?post=248"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}