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IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.

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
Writing
Drama
Silent
Characters
Movie
Speak
Write
Character
Cant
Great
Pretend

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Blasphemy and prayer are one. Both assert the existence of a superior power. The first, however, with conviction.
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My dad was a labour lawyer, and the ideas that I grew up with - bad management, bad capitalism, robber barons - when I applied this to my own life, I saw that we are all on both sides of the coin.
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Any time two characters are talking about a third, the scene is a crock of s***.
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You don't know what life is. You know nothing.
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Fun is what you do for yourself. If somebody else does it, it's entertainment.
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Hitchcock denigrated American films, saying they were all 'pictures of people talking' - as, indeed, most of them are.
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You know, young actors say all the time, 'Should I use my own life experience?' And my response is, 'What choice do you have?'
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Encounter: Doubt, Shame, Humiliation. It will finally be worth it. Acting is more about courage than anything else.
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It is not the constitutional prerogative of the Government to determine needs.
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Always tell the truth - it's the easiest thing to remember.
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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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All of us. All of us. We're doomed.
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Many players will not improve because they cannot bear self-knowledge.
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I pray you indulge me for a space, for I am going to set out on a speech which may have some duration, but whose theme may be gleaned from its opening phrase: how dare you.
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I always thought the real violence in Hollywood isn't what's on the screen. It's what you have to do to raise the money.
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The secret knowledge is there's nobody home but us chickens. The Constitution was written by a bunch of regular guys who tried to get together and thrash out a contract under which they could get together that would keep people together.
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They say the definition of ambivalence is watching your mother-in-law drive over a cliff in your new Cadillac.
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Let the cut tell the story. Otherwise you have not got dramatic action, you've got narration.
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Every scene should be able to answer three questions: Who wants what from whom? What happens if they don't get it? Why now?
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I've always been fascinated by the picaresque.
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