Joe Warbrick (1 January 1862 – 30 August 1903), born Joseph Astbury Warbrick, was a Maori New Zealand rugby union player born in Rotoruawho played for the All Blacks in their 1884 tour to Australia, and the 1888–89 New Zealand Native football team.
Warbrick first played for the Ponsonby Club in Auckland in 1877 as a 15 year old. He was then picked for the Auckland team (the youngest player in New Zealand to play first grade rugby). In 1884 he was picked for the first ever New Zealand team, and played a total of seven games, scoring twelve points.
In 1888 he was one of the major organisers of the privately funded New Zealand Native team that toured Australia, New Zealand and the British Isles. Although the team played 107 matches Warbrick did not play much due to injury. For much of that time no more than 20 of the touring party were fit, forcing those who were into a playing schedule that no modern team would contemplate.But even though it was soon forgotten, the Natives′ tour was to have enduring significance for New Zealand rugby and society. After the tour he virtually retired from all football. In 2008, Warbrick and the 1888–1889 New Zealand Natives were inducted into the IRB Hall of Fame.
Notes and references
Buried deep among the hundreds of old scripts in RKO Pictures’ archives was a 1941 melodramatic gem about an amnesia-stricken man who wakes up in the middle of a revolution in Mexico. Never produced, the screenplay for “The Way to Santiago” is credited to Orson Welles. A quick look at the text leaves no doubt it was the work of the “Citizen Kane” filmmaker when he was at the peak of his arrogant brilliance. The script begins: “My face fills the frame.” Abandoned by RKO after Welles’ epic fall from grace, “The Way to Santiago” has finally gotten the green light nearly six decades later and is being produced by a rejuvenated RKO. “This script caught everything about Welles,” said RKO Chairman and CEO Ted Hartley, citing the screenplay’s action, suspense and jungle romance. “It reflected his greatness in storytelling.” The Welles script was known to film historians for years, but it wasn’t easy to find. (NOTE: For educational purposes only)
“Santiago” tells the story of a man who wakes up in Mexico with no idea of who he is or how he got there. The twist is that he has an uncanny resemblance to a notorious figure. The story follows the man’s search for his own identity while evil forces try to kill him. Welles intended to direct and star in the film, as he had done in “Kane,” so the name of the main character is simply “Me” in the script. In a letter on file in RKO’s archives, Welles writes from New York to studio production head George Schaeffer on Feb. 2, 1941 that he’s eager to get started, assuring Schaeffer “we are going to successfully avoid a lot of the things that cost us time and money in the making of ‘Kane.’” “The only way to achieve the results we all urgently want is for those in responsibility to understand, finally, that even if they don’t like my way of doing things, they must do it my way just the same… (and most important) without making an effort to prove in the process that my way is wrong,” Welles wrote. The “Kane” problems were obviously weighing on Welles. “I am sorry not to be in Hollywood only because I know that apologists for our difficulties in ‘Kane’ will get your ear with a plausibility they never could manage were I not away,” he said.
The studio appeared very interested in “The Way to Santiago.” In a 1941 memo, a studio executive described the “Mexican Melodrama” script as “enormously interesting” and “exciting” with a good start, lots of suspense, though it “lets down a bit in the middle portion.” “With Welles’ flair for casting, his fast-moving direction and his amazing, if recently acquired, knowledge of what can be done with a camera, I should be tempted to let him work out his own problems on this one,” the memo said. The studio did express some concern about relations with the Mexican government over the subject matter of the film. This was at a time when RKO was co-owned by Nelson Rockefeller, who had oil holdings in Latin America. But “The Way to Santiago” never got made because of a corporate shakeup that cost Welles his main supporter, Rockefeller; problems with Welles’ second film, “The Magnificent Ambersons”; and Welles’ own self-destructive behavior. The script was filed away until the new RKO found it and gave it a second look. And while Hartley hails the script, he says it isn’t without flaws. The search is on for a script doctor unafraid to take on a Welles screenplay. “It needs some work,” Hartley said. “Among other things, it kind of drifted off near the end.” —Meet a hot new Hollywood writer: Orson Welles
In high school, David Lynch was student council treasurer.
A Montana native, born in Missoula, Lynch was an Eagle Scout at the Kennedy inaugural in 1961, and he still exudes a disarming heartland earnestness. He has yet to outgrow his upbeat boyish lingo (“you betcha,” “neat,” “cool.”) He dresses like an overgrown schoolboy, in khakis, cap and long-sleeved shirts buttoned to the neck — a look that almost never varies, even though by 9 A.M. it’s nearly 100 degrees in the San Fernando Valley. (“I have an eerie kind of feeling about my collarbone,” he once said, explaining the buttoned-up look. “Just a breeze on it is sometimes too much for me.” —People, September 3, 1990
Off-shore fishing cabin in Port Mansfield, TX.
Contributed by Christian Heuer.