Tag Archive: Jacqueline Bisset

For several weeks you’ve been reading blogs about my involvement with television and motion pictures, and one of the most popular subjects I noticed was that of STEVE McQUEEN and “Bullitt.”  Next year will mark the film’s 45th Anniversary! Can you believe it.  Earlier, you read something of my experiences, but it wasn’t the whole story, and so as Paul Harvey used to say, ” Now for the rest of the story.” Yes, I completed my tale, but it morphed it into an e-book…and best of all…100% of the profits will go to McQueen’s favorite charity, The Boys Republic, in Chino, California. It was the institute that turned him around, and he never forgot it! This e-book is priced extremely reasonably. In fact a cup of coffee costs more, and it is for  a very worthy cause. Why am I doing this?  Because Mr. McQueen was thoughtful and considerate to a thirteen year old boy, who has never forgotten his kindness!

Please do something for the boys at the Republic…who knows, there may be another Steve McQueen out there looking to be saved!

Link is below. If nothing else, please look at what I have to offer and consider donating to this worthy cause.



  Steve McQueen and Bullitt History – Part 3 by Tony Piazza

   My first meeting with STEVE McQUEEN at San Francisco General Hospital is documented elsewhere https://authortonypiazza.wordpress.com/2012/01/16/the-day-i-met-steve-mcqueen-by-tony-piazza/ and not wanting to be repetitious will not bother retelling it here. However a story that I would like to add regarding this location concerns actor GEORG STANFORD BROWN. He played a doctor amongst the real personnel in the Emergency Room. During the intense examination sequence he was doubled by a real doctor (surgical mask hiding a fair portion of his face) who stated later that he was almost ready to actually use the scalpel on the actor on the table. He really got into that role!

   Georg Stanford Brown as the emergency room doctor (Background).

   Later the action switches to Chalmer’s residence which was located in Pacific Heights at the corner of Vallejo at Divisidero. On this high end real estate with magnificent views of the bay and Golden Gate Bridge you will find some of San Francisco’s most impressive mansions, and the one used in the film was no exception. Chalmer’s was a sleazy politician played by ROBERT VAUGHN, and his portrayal of the character was so “dead on” that it killed his real life aspirations of going into politics. Prior to this role he was actually contemplating a run for office, but the Chalmer’s image finished that. I visited that location, but as mentioned in another post, Vaughn was not an easy man to approach. This was the one disappointment that I came away with from this production. He was the one actor that I didn’t get to meet. A bit of trivia: amongst some of the extras at the “tea party” was the actual owner of the mansion- a very elegant lady who did a silent bit as Chalmer’s mother and host. Interestingly, as I view the scenes today I can put names to some of the guests- fellow “extras” I got to know well just a few years later as I started working in the industry.

   Scene at entrance to Chalmer’s mansion (Vallejo at Divisidero).

  I described earlier Bullitt’s apartment, but one detail I forgot to mention was that in visiting the location I happened upon JACQUELINE BISSET. Even at thirteen I found her attractive (what can I say, I was advanced for my age). I watched her from a few paces away as she talked with director Peter Yates. There was something angelic about her…the flawless skin and slightly upturned nose set between those remarkable blue eyes, and she had that trace of an accent that seemed so intriguing to me back then. However  instead of wasting words (who could accurately describe a Botticelli), I’ll let you see for yourself from the photos I included. They illustrate what a beautiful and talented actress Jacqueline is. She was also definitely the perfect choice for the role as Cathy- a normally cool architect who becomes unhinged when she comes face to face with boyfriend, Frank Bullitt’s cruel, hard world. Regarding that scene following her seeing the woman’s body in the Thunderbird Hotel room (this hotel near the airport later became the Clarion and has since been torn down and a parking garage taking its place)- Peter Yates stated in a documentary that that dramatic scene of conflicting worlds (played out off the highway near the marshes) probably would have worked better without dialogue. That pantomime would have best conveyed the emotions that each were feeling. He used a similar effect earlier in the film at the Coffee Cantata (Now the Betelnut restaurant on Union Street in Cow Hollow) where he set the camera outside the restaurant looking in through a partition and shot vignettes of eye exchanges, casual conversation (pantomimed), and gentle caresses between McQueen and Bisset.  A montage of gestures, minus the dialogue attempting to relay to the audience glimpses into their relationship . Lalo Schifrin’s wonderful score as performed by the trio in the coffee house dominating the soundtrack. This was another instance where Yates effectively applied European fimmaking techniques to the shooting of this movie.

Tender moment shared between Cathy (Bisset) and Frank Bullitt (McQueen).

MORE BULLITT STORIES to follow in Part 4 including how DON GORDON and FELICE ORLANDI ended up having a real home cooked Italian meal!

Bisset and McQueen in Bullitt.

Publicity photograph of Jacqueline Bisset.


 Tony Piazza is author of the 1930s Hollywood murder mystery novel; “Anything Short of Murder,” which had its roots on the TCM fan website. His next novel, “The Curse of the Crimson Dragon” has just been released. He was an actor/extra during the 1970’s and worked with such legends as Steve McQueen, Paul Newman, and Karl Malden.

The Day I Met Steve McQueen by Tony Piazza


   Jacqueline Bisset (Cathy) and Steve McQueen across from S.F. General Hospital.

I met STEVE McQUEEN for the first time in the basement of San Francisco General Hospital during the filming of the motion picture, “Bullitt.” San Francisco General, an atmospheric old brick and mortar structure located in the Mission District was a popular filming location. It would later be used in the film “Dirty Harry” and the television series, “The Streets of San Francisco.” I was thirteen at the time when my mother and I had traveled to the set. They were filming the foot chase that occurs during the first quarter of the film. My father (as I’ve mentioned before was assigned by the SFPD to the film) met us outside and took us down to the basement. The filming site could only be reached through a labyrinth of passageways that were lined with electrical lines, water and heating pipes. It was a tricky journey. The set was “closed” to the public due to the closeness of the working area, but we were given special treatment thanks to my dad. It was hot in the basement because of the multitude of steam pipes that supplied heat to the hospital, and that, added to the motion picture lights made the environment extremely uncomfortable. The camera crew made a point of “saving” the lights  (in other words shutting them down) until they were needed to improve the conditions- but still it was hot and humid. Present, aside from the camera crew, were a handful of electricians, sound people, stuntmen, the director, PETER YATES and of course McQueen and the actor PAUL GENGE (the killer). My father called McQueen over and he seemed happy to meet us. There were no distractions from other on-lookers due to the “closed” set, so we had his full attention.

  Bisset and McQueen taking a break on a motorcycle.

Steve McQueen was dressed in a checked blue shirt, dark slacks, and a heavy brown sweater (which he had taken off in-between shots due to the heat). Still, he emitted that aura of “The King of Cool” and seemed every measure of it- even under such adverse conditions. After exchanging some polite comments to my mother he turned his attention to me. I think he knew his fans came from the younger generation, and so I think that was why he centered his attention on me. During the radio interview that I’d mentioned in an earlier blog I was also asked by the host, DAVE CONGALTON, “what made McQueen so cool to our generation?” We both decided that he had that “It” factor. And what was that “It?” That would be hard to define, but let’s say that here’s a guy who loved bikes, fast cars, and lived outside the conventional. I’d say that could explain it. Then, they also called him a rebel, although quite frankly I didn’t see it that day. A rebel to me is someone that is anti-social, distant, and brooding. You can tell that he was thoroughly interested in his fans- extremely social, and although stories said that he hated police, he really liked and respected my dad…he was sincere about that, I could tell. I think that he was labeled a rebel because he resisted conforming to the dictates of the studio system. And the executives were robbed of their power to punish him because he was so popular with the public. Or in their thinking, a big money maker. This was something they couldn’t argue with. But still it irked them because it denied them of their power. Sure he got into scrapes with the law, and he didn’t behave as the publicity boys would have preferred, but after all, that seemed to be what made him popular, and what was expected of him by his fans. Change that, and you change his appeal.

 McQueen liked to hit the hills in S.F. during breaks.

When McQueen talked with me, I have to admit that I felt somewhat intimated. Not that he meant to, in fact I’m sure he was trying to make me feel comfortable. He certainly was extremely down to earth and friendly. It was due in part to my reaction at meeting a star of his stature, and also a response to his intense way of questioning me about the mundane things in my life. I remember that he had placed one hand against a post and was leaning in towards me, his blue eyes unblinking, as he fired off a number of questions which he seemed very interested in hearing the answers to: “How old was I?” “Where did I go to school?” “What were my interests?” As I responded, at times not meeting him squarely in the eyes, he tilted his head, one ear slightly forward. It wasn’t until recently that I’d learned that he was partially deaf in one ear due to an infection he had as a kid, and realized that that could explain this intensity. When I mentioned that I enjoyed drawing as a hobby he invited me to come down and sketch on the set. He told me that he’d already allowed some students from the S.F. Art Academy to come down and do just that. As I said elsewhere, he really seemed interested in his fans, and enjoyed staying connected with them.

  McQueen in front of a flower stand on Stockton Street.

Here is an additional “tidbit” on McQueen. He was not comfortable in morgues. That became evident when it came to shooting his scenes in the S.F. morgue; he seemed extremely anxious to get it over quickly. He didn’t hang around in-between shots, and even expressed his feeling of discomfort to my father. It was no secret. I don’t think he’d feared death, otherwise he wouldn’t have taken the risks that he did with stunts and racing, but I believe it had to do with being in the presence of it. The atmosphere created an opportunity for reflection, and that was what made him feel uncomfortable- thinking about it. It is interesting though- Natalie Wood was nervous around water…and McQueen hated morgues- premonition?

  Robert Vaughn (Chalmers), Cinematographer (William Fraker), and Peter Yates (director) lining up a shot at Grace Cathedral, Nob Hill.

Some final thoughts on McQueen; as I mentioned a moment ago he liked doing some of his own stunts, and did them when allowed by the studio. Whether driving during the chase, jumping from a commercial airliner, or hunkering down as a jet rolled above him. He was cool in that way and I think that is what defined him. The likes of this “superstar” will never be seen again, and I consider myself very lucky that I got to meet him.

Author’s additional notes: I had visited the set numerous times afterward and in the future will share more stories (including my impressions on Jacqueline Bisset). I also worked with McQueen on “The Towering Inferno” and will be sharing that as well.

In my last post I included a letter that McQueen had sent to my father after they “wrapped”. What I didn’t mention was what it was attached to- a beautiful picnic basket from Abercrombie & Fitch. I have inherited it from my dad, and below is a picture of it.

Author’s trivia: The trauma unit doctors seen working on the victim shot by the assassin in the film were actual doctors and medical students. For realism, the director opted for them instead of actors.

(Above photographs were a rare find from the Piazza archives- these came from a S.F. Examiner article dated from 1968 and included a quote from my dad, as well as he given a credit with the production crew).

We  had the original script from “Bullitt” at one time. I’ve been tearing the house apart to find it, but sadly no luck so far. I will keep looking however.


Tony Piazza is author of the 1930s Hollywood murder mystery novel; “Anything Short of Murder,” which had its roots on the TCM fan website. His next novel, “The Curse of the Crimson Dragon” is due out early 2012. He was an actor/extra during the 1970s and worked with such legends as Steve McQueen, Paul Newman, and Karl Malden.