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I understand that computers, which I once believed to be but a hermaphrodite typewriter-cum-filing cabinet, offer the cyber literate increased ability to communicate. I do not think this is altogether a bad thing, however it may appear on the surface.

David Mamet

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David Mamet
Age: 76
Born: 1947
Born: November 30
Actor
Author
Film Director
Film Producer
Novelist
Playwright
Poet
Screenwriter
Television Producer
Theatrical Director
Writer
Chicago
Illinois
David Alen Mamet
David Alan Mamet
Thinking
Offers
Altogether
Hermaphrodites
Computer
Increased
Filing
However
Computers
Literate
Ability
Appear
Typewriter
Understand
Offer
Typewriters
May
Believed
Cabinet
Thing
Communicate
Cabinets
Think
Surface
Cyber
Hermaphrodite

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Mixed martial arts was invented by Brazilians, whose families had been trained by the Japanese. Those Brazilians came to the U.S., where their invention was bought out, gussied up and presented to the world, which found it good.
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One can read all one wants, and spend eternities in front of a blackboard with a tutor, but one is not going to learn to swim until one gets in the water.
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Characters on stage, like people in what we refer to as real life, do not speak to reveal themselves. They do not speak to conceal themselves. They speak to get whatever it is that they want. It is the only reason they speak.
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Opportunity may knock, but it seldom nags.
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The great movie can be as free of being a record of the progress of the protagonist as is a dream.
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We respond to a drama to that extent to which it corresponds to our dream life.
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It is the writer’s job to make the play interesting. It is the actor’s job to make the performance truthful.
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The honest man might observe... that no one gets something for nothing that politicians go in poor and go out rich that the Government screws up everything it touches and that the Will to Believe is best confined to the Religious Venue, as to practice it elsewhere is just too damned expensive.
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People only speak to get something.
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The surprise is half the battle. Many things are half the battle, losing is half the battle. Let's think about what's the whole battle.
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I don't have any experience with film schools. I suspect that they're useless, because I've had experience with drama schools, and have found them to be useless.
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What we're trying to do is find two or more shots the juxtaposition of which will give us the idea.
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I don't really have a social life.
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I grew up in a tough neighborhood and we used to say you can get further with a kind word and a gun than just a kind word.
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If you find that a point cannot be made without narration, it is virtually certain that the point is unimportant to the story (which is to say, to the audience).
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Life in the movie business is like the beginning of a new love affair: it's full of surprises, and you're constantly getting f***ed.
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Always do things the least interesting way, the most blunt way, and you make a better movie. This is my experience.
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War is tragedy. The great war stories are tragedies. It's the failure of diplomacy. 'War and Peace,' 'A Farewell to Arms,' 'For Whom the Bell Tolls.' Those are some of the greatest tragedies.
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The pain of losing is diverting. So is the thrill of winning. Winning, however, is lonelier, as those you've won money from are not likely to commiserate with you. Winning takes getting used to.
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Many players will not improve because they cannot bear self-knowledge.
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