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David Geffen: A biography of New Hollywood
670 pages, Hardcover
First published January 1, 2000
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Displaying 1 - 2 of 2 reviews
January 15, 2025
Very rich
I picked this up for a couple of quid during a pleasant trawl through the second-hand shops of Notting Hill. I already knew a bit about David Geffen's importance in the 70's west coast scene: founder of the Asylum (and - of course - the Geffen) record labels, management partner of Elliott Roberts (who handled Joni Mitchell and Neil Young), manager of Crosby Stills and Nash, and discoverer of Laura Nyro and Jackson Browne. Apart from recognizing him as the G in Dreamworks SKG, I wasn't familiar with his life after that era, and hoped this book would fill in the gaps.
It does a fine job in that regard, tracing Geffen's rise from his humble origins to his becoming one of the richest men in the entertainment industry. Along the way, there are some good stories: his early work at the William Morris Agency, his engagement to Cher (Geffen is gay), his role in John Lennon's reemergence just before his death, his relationship with Bill Clinton, the setting up of Dreamworks. The book also highlights his search for new challenges, as his boredom with each accomplishment becomes the impetus for the next one.
In spite of its length, it's an enjoyable read, although I found I was getting tired of reading about his innumerable rages and fallings-out with colleagues and competitors, which were difficult to understand or sympathize with. And, apart from a single place where the author uses disinterested where he means uninterested, it's well-written. One small thing that I found puzzling was the cover, across which is scattered a handful of snapshots of Hollywood's elite (inc. Geffen). The sole picture on the spine of the book is of Keanu Reeves, who is referred to precisely once in the book as the subject of a rumour that he and Geffen were married. The fact that it's then emphasised that Geffen and he had never even met makes his appearance in such a prominent position peculiar.
Originally reviewed 5 November 2008
I picked this up for a couple of quid during a pleasant trawl through the second-hand shops of Notting Hill. I already knew a bit about David Geffen's importance in the 70's west coast scene: founder of the Asylum (and - of course - the Geffen) record labels, management partner of Elliott Roberts (who handled Joni Mitchell and Neil Young), manager of Crosby Stills and Nash, and discoverer of Laura Nyro and Jackson Browne. Apart from recognizing him as the G in Dreamworks SKG, I wasn't familiar with his life after that era, and hoped this book would fill in the gaps.
It does a fine job in that regard, tracing Geffen's rise from his humble origins to his becoming one of the richest men in the entertainment industry. Along the way, there are some good stories: his early work at the William Morris Agency, his engagement to Cher (Geffen is gay), his role in John Lennon's reemergence just before his death, his relationship with Bill Clinton, the setting up of Dreamworks. The book also highlights his search for new challenges, as his boredom with each accomplishment becomes the impetus for the next one.
In spite of its length, it's an enjoyable read, although I found I was getting tired of reading about his innumerable rages and fallings-out with colleagues and competitors, which were difficult to understand or sympathize with. And, apart from a single place where the author uses disinterested where he means uninterested, it's well-written. One small thing that I found puzzling was the cover, across which is scattered a handful of snapshots of Hollywood's elite (inc. Geffen). The sole picture on the spine of the book is of Keanu Reeves, who is referred to precisely once in the book as the subject of a rumour that he and Geffen were married. The fact that it's then emphasised that Geffen and he had never even met makes his appearance in such a prominent position peculiar.
Originally reviewed 5 November 2008
January 2, 2018
A book of two half’s with the first part where Geffen is young and discovering and breaking bands like The Eagles and Crosy, Still and Nash is pretty good. The second half where he goes full mogul and spends all his time doing increasingly high priced deals is less so. As someone points out, when you have a billion dollars, what’s the point of dedicating your whole life to getting a second? By the end Geffen comes across as a guy who spends his nights alone, watching TV with not a lot more going on.
Displaying 1 - 2 of 2 reviews