What do you think?
Rate this book
Josh Hartnett Definitely Wants to Do
A wickedly funny account of celebrity, Hollywood and everything in between ... now in paperback.
What's it like to be a veteran director up against the machinations of modern-day Hollywood, with its self-absorbed stars, studio executives who think 'Singapore' is a made-up country, destitute producers posing as lords of finance - the mad, the bad and the downright notorious? Award-winning film-maker Bruce Beresford takes us through the highs and lows of the screen trade - from high-powered dinner tables to obscure backlots, from the centres of power to far-flung locations - with a cast of characters that includes Russell Crowe, Cate Blanchett, Jeffrey Archer, Steven Seagal, and many others. Delightfully literate and sharply observed, this is a highly entertaining insider's account of a rarely glimpsed world.
What's it like to be a veteran director up against the machinations of modern-day Hollywood, with its self-absorbed stars, studio executives who think 'Singapore' is a made-up country, destitute producers posing as lords of finance - the mad, the bad and the downright notorious? Award-winning film-maker Bruce Beresford takes us through the highs and lows of the screen trade - from high-powered dinner tables to obscure backlots, from the centres of power to far-flung locations - with a cast of characters that includes Russell Crowe, Cate Blanchett, Jeffrey Archer, Steven Seagal, and many others. Delightfully literate and sharply observed, this is a highly entertaining insider's account of a rarely glimpsed world.
336 pages, Paperback
First published January 1, 2007
54 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 14 of 14 reviews
June 6, 2021
This book consists of various diary entries by the esteemed Australian film director Bruce Beresford covering the period 24 October 2003 to 11 July 2005, when he was “waiting” for finalisation as to whether he would be directing the film The Contract starring Morgan Freeman and John Cusak. It provides an insight into the workings of the film trade at the beginning of the 21st century from a director’s perspective. During the process, a number of projects are also discussed and played around with. Hopes and dreams are raised, and processed, and altered, and destroyed, and again resurrected with apparent abandon. All the while Beresford is caught up with, or dismissed, or encouraged, or deflated about what options might or might not have a chance of surviving…
There are two things that stood out for me. The first is the nature of the very privileged (albeit mind-bogglingly frustrating) world Beresford describes. Lots of jet-setting about; lots of meetings, lots of expensive lunches; lots of stays in comparatively plush hotels; and lots of film-world VIPs in the rarified atmosphere of agents, executives, producers, stars, etc. all of whom can and do ask for just about anything they might desire (including “comfort girls” (no mention of any other type, though no doubt those, too, could be provided (and maybe this relates more to Eastern European countries? (I doubt it!))) and more often than not are satisfied. Nice work if you can get it.
It would be a mistake to think that the human beings inhabiting this ephemeral world would all have a relatively high intelligence level. Many might well have, but among the crowd there are also those in positions of power who can cause an eyebrow or two to be raised in disbelief, like the person who thought that (for a film set in Malaysia) “Singapore” was a name created by a screenwriter, said that he didn’t like the sound or the look of it, and wanted a more appropriate name to be used instead; or another person (no doubt aware that Australia, being in the Southern hemisphere, had it seasons ‘the other way around’) who thought that this also meant that in Australia the sun rose in the West and set in the East… These, and other oddities are subjected to gently snide remarks by Beresford, providing fun for the reader.
Secondly, however, and perhaps more importantly, it seems that the production of a script, apparently absolutely essential for a project even to be begun to be considered by the powers that be, is no safe work for any creative writer. As soon as a script elicits any interest whatsoever, the first thing that is discussed is how to re-write it; and this happens at every single stage of inquiry. Producers, executive producers, directors, actors, potential investors, etc. all have a go; and then the process is repeated at just about each stage, for each change, for each variation, for each changing contingency — everyone who might even be only slightly interested calls for a re-write… And all of this before any other necessary changes that might need to be made once the project is up and running, during pre-production, production and post-production, when climate, access, clashing schedules, availability, etc. all need to be accounted for, and dealt with within the required timeframe (more or less standard for any film production). If anything were to remain of the original script it would be miraculous! On second thoughts, when one considers the general mediocrity of so many films nowadays, not so miraculous after all — just mediocre results.
[Apropos of nothing in particular: modern-day word-processing can easily allow for each page of a book to have, either as a header or as a footer (or both), an automatically-produced page number and title for each page as well. This book has its main title as a header on each page as appropriate. I was some way through reading the book when I noticed something odd (sometimes I think there is something ‘wrong’ with me! :-)) The main title of this book is Josh Hartnett definitely wants to do this… and this appears as the header at the top of each page . I first noticed it on page 65, then curious as whether it was a one-off error, I did a quick check through all the other pages (see, there is something wrong with me!). On all the following fifteen pages: 5, 27, 37, 49, 65, 141, 143, 147, 157, 191, 211, 243, 281, 299 and 305 (and as far as I can ascertain only on these pages) the word “definitely” is spelled “definately”! Gremlins in the software?]
There are two things that stood out for me. The first is the nature of the very privileged (albeit mind-bogglingly frustrating) world Beresford describes. Lots of jet-setting about; lots of meetings, lots of expensive lunches; lots of stays in comparatively plush hotels; and lots of film-world VIPs in the rarified atmosphere of agents, executives, producers, stars, etc. all of whom can and do ask for just about anything they might desire (including “comfort girls” (no mention of any other type, though no doubt those, too, could be provided (and maybe this relates more to Eastern European countries? (I doubt it!))) and more often than not are satisfied. Nice work if you can get it.
It would be a mistake to think that the human beings inhabiting this ephemeral world would all have a relatively high intelligence level. Many might well have, but among the crowd there are also those in positions of power who can cause an eyebrow or two to be raised in disbelief, like the person who thought that (for a film set in Malaysia) “Singapore” was a name created by a screenwriter, said that he didn’t like the sound or the look of it, and wanted a more appropriate name to be used instead; or another person (no doubt aware that Australia, being in the Southern hemisphere, had it seasons ‘the other way around’) who thought that this also meant that in Australia the sun rose in the West and set in the East… These, and other oddities are subjected to gently snide remarks by Beresford, providing fun for the reader.
Secondly, however, and perhaps more importantly, it seems that the production of a script, apparently absolutely essential for a project even to be begun to be considered by the powers that be, is no safe work for any creative writer. As soon as a script elicits any interest whatsoever, the first thing that is discussed is how to re-write it; and this happens at every single stage of inquiry. Producers, executive producers, directors, actors, potential investors, etc. all have a go; and then the process is repeated at just about each stage, for each change, for each variation, for each changing contingency — everyone who might even be only slightly interested calls for a re-write… And all of this before any other necessary changes that might need to be made once the project is up and running, during pre-production, production and post-production, when climate, access, clashing schedules, availability, etc. all need to be accounted for, and dealt with within the required timeframe (more or less standard for any film production). If anything were to remain of the original script it would be miraculous! On second thoughts, when one considers the general mediocrity of so many films nowadays, not so miraculous after all — just mediocre results.
[Apropos of nothing in particular: modern-day word-processing can easily allow for each page of a book to have, either as a header or as a footer (or both), an automatically-produced page number and title for each page as well. This book has its main title as a header on each page as appropriate. I was some way through reading the book when I noticed something odd (sometimes I think there is something ‘wrong’ with me! :-)) The main title of this book is Josh Hartnett definitely wants to do this… and this appears as the header at the top of each page . I first noticed it on page 65, then curious as whether it was a one-off error, I did a quick check through all the other pages (see, there is something wrong with me!). On all the following fifteen pages: 5, 27, 37, 49, 65, 141, 143, 147, 157, 191, 211, 243, 281, 299 and 305 (and as far as I can ascertain only on these pages) the word “definitely” is spelled “definately”! Gremlins in the software?]
October 13, 2017
Picture an author or an artist, sole souls, inspired and eager to produce a "Work of Art".
One begins with the story, but could also begin by taken notes, sketching an outline(in words),
or writing character sketches so they can produce a realistic, fully rounded person.
But what of the artist ?? Sketching in lines not words to produce a face or an environment that will be as informative as the face concerning 'character'.
And these creators are alone.
Not wanting to confide or reveal as they are still shaping and moulding both the characters and the story...just as a sculptor can be shaping or moulding in clay initially.They may even surprise themselves with what results, aspects of the character which had never, until NOW, entered their head. The character almost comes into life and directs them where it wants to go and who they are. But they are NOT deferring to anyone; not asking for permissions; obviously working...alone!!!
Now....take a movie !!! Hugely collaborative. Many fingers in the Pie which will result.
The script writer may find that his/her wonderful production has been handed over to a total stranger to be ....further moulded. And will continue to further moulded and on and on!!!!
No character on paper though because main characters will be portrayed by actors who may bear no resemblance to what the script writers had in mind. They will bring voices and faces and bodies as well. Someone else is producing "Theme Music" !!!!!!!!!!!!!!!! Totally inappropriate ??? Who will rubber stamp the melodies?? The script writer ??...Long since disappeared perhaps. The actors ?
Oh, and there's a director as well. Is this role the same as an editor or publisher??
Bruce Beresford's World of the Film may be exciting, romantic, rich and varied in hundreds of ways.
Instead of One Writer there are a multitude of creative contributors from writers to actors to composers to costume designers to set builders, cameramen/women, directors and producers etc etc ....and ALL with THEIR OWN PERCEPTION of the Work of ART.................... !
" MESSY "might sum it ALL up...perhaps !!!!?
It's a wonderful, tantalising read but how would one survive the reality of this world of multiple roles, places,
One begins with the story, but could also begin by taken notes, sketching an outline(in words),
or writing character sketches so they can produce a realistic, fully rounded person.
But what of the artist ?? Sketching in lines not words to produce a face or an environment that will be as informative as the face concerning 'character'.
And these creators are alone.
Not wanting to confide or reveal as they are still shaping and moulding both the characters and the story...just as a sculptor can be shaping or moulding in clay initially.They may even surprise themselves with what results, aspects of the character which had never, until NOW, entered their head. The character almost comes into life and directs them where it wants to go and who they are. But they are NOT deferring to anyone; not asking for permissions; obviously working...alone!!!
Now....take a movie !!! Hugely collaborative. Many fingers in the Pie which will result.
The script writer may find that his/her wonderful production has been handed over to a total stranger to be ....further moulded. And will continue to further moulded and on and on!!!!
No character on paper though because main characters will be portrayed by actors who may bear no resemblance to what the script writers had in mind. They will bring voices and faces and bodies as well. Someone else is producing "Theme Music" !!!!!!!!!!!!!!!! Totally inappropriate ??? Who will rubber stamp the melodies?? The script writer ??...Long since disappeared perhaps. The actors ?
Oh, and there's a director as well. Is this role the same as an editor or publisher??
Bruce Beresford's World of the Film may be exciting, romantic, rich and varied in hundreds of ways.
Instead of One Writer there are a multitude of creative contributors from writers to actors to composers to costume designers to set builders, cameramen/women, directors and producers etc etc ....and ALL with THEIR OWN PERCEPTION of the Work of ART.................... !
" MESSY "might sum it ALL up...perhaps !!!!?
It's a wonderful, tantalising read but how would one survive the reality of this world of multiple roles, places,
August 7, 2011
I just finished reading this and have a new found respect for film directors, Australian ones in particular. All the crap he has to go through from Hollywood in order to get a film into production is just amazing. It's an entertaining and easy read from a very talented and interesting man. And the Hollywood tidbits were an added bonus. I just hope he keeps working and the schmucks that "run" the industry don't block this creative professional. If you are interested in film, check this one out. Royalties from the book may be the only thing Bruce Beresford lives off if those Hollywood schmucks rebel!!!!
September 18, 2008
It's amazing that movies ever get made! I was impressed by Bruce Beresford's candour and generosity in script reading and notation. An entertaining insight into the movie industry.
October 24, 2012
Excellent insight into how movies get made, or don't.
January 8, 2017
I found this diary tedious at times, but that's OK because I'm sure much of a director's life is tedious - waiting for deals, and green lights, and financing, and contracts. It conveys a sense of how Beresford must feel much of the time.
This records about 19 months of his life, and chronicled the making of one movie. I couldn't believe that it was so long! And then after all that time he ended up having to make a crap movie that he knew was crap (The Contract), and losing so many movies that he knew would be great, such as Miss Potter.
It's unbelievable how appallingly such a huge industry is run. Movies cost millions of dollars to make, and it seems that most of the movers and shakers and decision-makers don't even read the scripts.
I drooled over Beresford's life in one way: he must have travelled overseas - purposefully, not just as a rambling vacationer - at least half a dozen times. He even owns a flat in London. And the people he knows! He pops over to dinner with Barry Humphreys, goes to the opera with Clive James, and has drinks with Russell Crowe. And he spends New Years with David Williamson.
This records about 19 months of his life, and chronicled the making of one movie. I couldn't believe that it was so long! And then after all that time he ended up having to make a crap movie that he knew was crap (The Contract), and losing so many movies that he knew would be great, such as Miss Potter.
It's unbelievable how appallingly such a huge industry is run. Movies cost millions of dollars to make, and it seems that most of the movers and shakers and decision-makers don't even read the scripts.
I drooled over Beresford's life in one way: he must have travelled overseas - purposefully, not just as a rambling vacationer - at least half a dozen times. He even owns a flat in London. And the people he knows! He pops over to dinner with Barry Humphreys, goes to the opera with Clive James, and has drinks with Russell Crowe. And he spends New Years with David Williamson.
May 6, 2009
Not published in the US for some reason. It gives great and funny and true insight into the US Movie business. From the director of 'Breaker' Morant. One of my favorite movies. He also did Tender Mercies, another good one. The book is like his movies: sharp but casual, honest but humane; always accepting life for what it is with a (beat) and a smile. He would have been a great match for a Pinter (pause) script. His next movie, Mao's Last Dancer, I'm really looking forward to.
June 8, 2015
Some interesting tidbits and definitely shows you how much goes into/what a long process it is to get a film up, but also felt a bit simple or boring and like reading someone's to do list at times.
Also got the feeling he might be a bit of a controversial narrator with extreme opinions on people that I might need to follow up on myself.
Still, a cool look inside the real life of people in the industry!
Also got the feeling he might be a bit of a controversial narrator with extreme opinions on people that I might need to follow up on myself.
Still, a cool look inside the real life of people in the industry!
July 11, 2020
This is a beautiful book. It's so very human, while being astute, interesting and well informed. It gives a great inside view of the screen trade, with an Australian slant, plus tips for interesting movies, and books. Also, hilariously funny, and sad, at the same time.
August 22, 2007
An entertaining and candid - read surprisingly indiscreet -look at how a film-maker deals with the eternal struggle to find finance for his next movie.
July 22, 2012
Here's my review from the time - http://www.debbish.com/books-literatu...
September 1, 2012
An interesting look at financing films, etc, in the screen trade.
August 17, 2022
I read this a while back but I remember it being a great insight into just how easily problems can multiply when making movies when Beresford wrote what happened with The Contract. It explains why there's quite a lot of terrible movies out there!
September 26, 2025
Short, unvarnished journal entries spanning a couple years in the director’s life. I really recommend this if you’re interested in film at all, as it shows just how hard it is to get a film made and how some good directors end up making bad movies.
Displaying 1 - 14 of 14 reviews