Where Did I Go
Right?: You’re No One In Hollywood Unless Someone Wants You Dead was
published in 1999. The copy I read was a First Edition, withdrawn from the
library.
This blog started out as Michael Doherty's Personal Library, containing reviews of books that normally don't get reviewed: basically adult and cult books. It was all just a bit of fun, you understand. But when I embarked on a three-year Shakespeare study, Shakespeare basically took over, which is a good thing.
Thursday, November 21, 2019
Shakespeare References in Where Did I Go Right?
On my trip to Boston, I took two books to read, both
about producing films, and both with questions as titles. The first was What Just Happened? by Art Linson. The second was Where Did I
Go Right?: You’re No One In Hollywood Unless Someone Wants You Dead, by
Bernie Brillstein with David Rensin. Both books contain Shakespeare references.
Where Did I Go Right? contains
several references. The first is to The
Merchant Of Venice, with Bernie Brillstein writing, “I had a week to come
up with the money, so I took a loan from a shylock” (p. 85). He makes two more
similar references: “I paid off the shylock and everyone else, and then I only had
to pay back my uncle” (p. 86) and “If you owe a shylock $70,000 when you only
make $25,000 a year – and all of that goes to rent and alimony – show-business
anxiety is a piece of cake” (p. 87). The next reference is to Shakespeare
himself: “An actor can’t just walk into an ‘acting’ club and recite Shakespeare
for nothing” (p. 242). Then we get a reference to Macbeth: “I’m not saying that I regret any of it. What’s done is
done” (p. 262). The line “What’s done is done” is spoken by Lady Macbeth in the
third act. The next couple of references are to Shakespeare. Brillstein writes,
“I’m just worried that the magnifying glass over our industry – all in the name
of keeping us interested enough to buy movie tickets and CDs, watch TV shows,
etc. – makes it seem like, as James Poniewozik wrote in Salon, an on-line magazine, that our lives are about ‘dynastic
struggles on the scale of Shakespeare’s histories’” (p. 271). And then: “I was
in New York on business and I was tired, but Ileen Maisel insisted that I see Liaisons Dangereuses. The Royal
Shakespeare Company play, written by Christopher Hampton, was on Broadway after
an earlier run on London’s West End” (p. 279). The book’s final reference is to
The Merchant Of Venice: “Everyone
extracts their pound of flesh” (p. 294).
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