Josh Hartnett's appearance on the new season of The Bear came as a surprise to fans, but it was actually a carefully planned decision that had been in the works for several years. Hartnett first connected with series creator Chris Storer years ago through mutual friends in the New York and Los Angeles food scenes. They initially discussed a potential role in Storer's first film, which centered around chefs, inspired by Storer's sister, who is a chef.
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| Josh Hartnett and Ebon Moss-Bachrach in 'The Bear' season three. COURTESY FX |
Reflecting on his discovery of The Bear, Hartnett recalled hearing about the show's growing reputation and realizing the connection to Storer. "It sounded really familiar, so I checked it out and saw Chris’ name and was amazed," Hartnett shared from his home in the UK. "I called him immediately to say congratulations and tell him the show was incredible."
This collaboration highlights the strategic and interconnected nature of the entertainment industry, where long-standing relationships and shared interests often pave the way for creative partnerships and unexpected casting decisions.
Now, two years later, Hartnett plays Frank — the friendly and thoughtful fiancé to Tiffany and, depending on whom you ask, Richie’s biggest nightmare. Here, the actor reveals what it was like to peek behind the scenes of the beloved series and the Easter eggs he incorporated into the episode.
So, you called Chris to congratulate him; did that conversation lead to a job offer?
It was somewhat organic, but not entirely. (Laughs) He thanked me and mentioned that we should work together sometime, saying, "Let's make this happen." About a year later, he contacted my agent and said they had a role for me. I accepted immediately, even before reading the script, because I wanted to work with him.
Our industry can be harsh, but occasionally you get lucky and meet people you truly admire. Chris and I always got along well, so I was thrilled when he asked. I must say, they have a blast making that show. It doesn't even feel like work. Actors come to set and hang out on their days off. It feels like a group of friends creating a show at university, yet it's an incredible success.
Before you read the script and learned about Frank, did you have any thoughts about the character? I imagine you might have speculated on why Tiffany chose him.
I wondered who Tiffany would move on to after Richie and what kind of person would get involved knowing Tiffany's history with Richie. This guy had to be confident and quite different from Richie.
When I finally read the script, I found the interaction between Frank and Richie delightful. I also looked forward to working with Ebon Moss-Bachrach, as we had known each other for a long time in New York but never worked together.
How much of the blocking in that scene was scripted, where Frank is crowding Richie, and Richie looks like he’s trying to sink into the wall?
None of that was scripted. What I love about Ebon as an actor is his reactivity—he knows his character well and reacts wonderfully. One useful aspect was starting with me coming out of the house and standing two steps higher than Richie, creating a dynamic. Frank needs reassurance from Richie that everything is above board and there won’t be any friction.
He genuinely loves Tiffany and doesn't want complications for his stepdaughter, wife, or himself. It’s a tricky situation with high stakes, all set to Taylor Swift’s music. I also added touches to make Frank more intimidating to Richie, like the fingernail polish my daughters always paint on me, which I thought Frank would be proud of as a stepdad.
Richie seeing it would feel uneasy. Additionally, I wanted it to appear that despite having a beautiful house, Frank works on it himself.
It looked like Richie caught Frank in the middle of buffing the floors or something…
Exactly. These little things make Richie think, "I want to hate him, but I can’t," which puts him in a tough spot. It highlights his predicament and adds more drama—something Richie definitely needs. (Laughs)
On the note about the nail polish, Gillian Jacobs mentioned imagining Frank having a stockpile of Taylor Swift friendship bracelets. Does that resonate?
Absolutely. The friendship bracelets fit, especially since they got concert tickets last season. Interestingly, I recently attended the Eras Tour with my daughters, and it was wild. Wembley Stadium was packed with 90,000 people, all losing their minds, including my daughters.
The experience was very respectful, with many people giving my daughters bracelets. It was a great event for their first concert.
Did she play "Long Live," the song that plays on The Bear during your scene?
Oh man, I’m not sure about that.
I accidentally asked you a trick question because it was cut from the original set list to make room for the new era. Here’s one with no right answer: Do you think Richie goes to Tiffany and Frank’s wedding?
I do. I think Richie wants to keep his promises to his daughter and his ex-wife. I don’t think he’d want to cause trouble out of jealousy. He’s growing up and maturing, as we saw in his arc in season 2, which was a great and interesting choice for the show. I assume that growth will continue until some disaster strikes.
How would you describe the experience of being directed by Chris?
I’ve never been on a shoot, even micro-budget independent films, that move as quickly as Chris's. I find that refreshing. He’s focused and not overly precious. The scripts are very precise, and the actors are deeply invested in their characters, so he often gets what he wants quickly and then captures a bit of coverage before wrapping up.
Watching the actors trust the process on set has been extraordinary. The show is also pioneering in creating tension organically. You have to be fully prepared; otherwise, you'll struggle to keep up.
Did you notice any differences in how Chris works compared to other big-name directors you’ve recently worked with, like Christopher Nolan and M. Night Shyamalan?
All the talented directors I've worked with are willing to trust their collaborators. They have a clear vision, and it’s usually directors uncertain of their vision who tend to micromanage. Top-notch directors generally don’t overwork the process.
Did you see any efforts to keep your role a secret? There wasn’t even a blurry cell phone picture of you in Chicago.
Chicago seemed really protective of The Bear. The locals love the show, and it’s an unspoken rule not to spoil it. Plus, everyone involved in the show values keeping surprises intact.
I did mention it to my parents and a few friends who are fans, but since I don’t use social media, it didn’t feel like I was telling anyone else.
Carmy terrorizes his co-workers this season with his list of non-negotiables; do you have any when it comes to your career or what you’ll say yes to?
For me, it's mostly about the people. Do I respect the directors and producers? Do I feel there's an opportunity to create something exciting and fresh together? I avoid repetitive roles or projects that have been done countless times.
I've often worked with newer directors in independent films because I enjoy the creativity and lack of external expectations they bring. When someone has a well-defined path in the industry already, it's less intriguing to me.
Are you also seeking a similar energy from experienced directors you work with?
Recently, I've been fortunate to collaborate with established directors who are both respected individuals and have their pulse on current trends. It's like having the best of both worlds. I'm always looking for opportunities to work with someone at the top of their game, aiming to create something unique.
You mentioned crossing paths with Chris in the restaurant scene — what is your favorite food- or restaurant-centric memory?
My wife and I took a spontaneous trip to Lake Garda in Italy early in our relationship. We were working on a film in London, unsure about our future, and decided to see if we should date. We dined at Villa Feltrinelli, a small Michelin-starred restaurant with only six tables.
The carbonara there, with its mysterious touch of brown sugar, remains unforgettable. We witnessed a storm sweep across the lake that day, and it felt magical. It was a defining moment for us, realizing we wanted to marry and start a family.
Have you returned to Villa Feltrinelli since then?
No, we haven't. We considered it for our wedding, but it was too costly. Maybe if I keep making movies like Trap, we'll get another chance. (Laughs)
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