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I love working on a typewriter - the rhythm, the sound it's like playing the piano, which I do, too.

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
Typewriters
Piano
Rhythm
Playing
Working
Sound
Love
Like
Typewriter

More quotes by David Mamet

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Every reiteration of the idea that nothing matters debases the human spirit.
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The greater the intellect, the more ease in its misdirection.
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The study of acting consists in the main of getting out of one’s own way, and in learning to deal with uncertainty and being comfortable being uncomfortable.
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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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Blasphemy and prayer are one. Both assert the existence of a superior power. The first, however, with conviction.
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We respond to a drama to that extent to which it corresponds to our dream life.
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I won't ever do e-mail.
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People only speak to get something.
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Being among my people is a delight. We Jews live among ourselves. I love it.
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My tendency as an actor was to correct people, was to say, 'What if we tried it this way, what about if we tried that way?' That's terrible habit for an actor, but that's a good habit for director. So I became a director.
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Writing a novel is an incredibly free experience. One puts one's self in a narrative mode. You can go off in any direction - the past, the future, or go laterally, or include one's own beliefs. It's total freedom.
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When I started out I was a failed actor.
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To find beauty in the sad, hope in the midst of loss, and dignity in failure is great poetic art.
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I've been alienating my public since I was 20 years old.
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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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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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In a restaurant one is both observed and unobserved. Joy and sorrow can be displayed and observed unwittingly, the writer scowling naively and the diners wondering, What the hell is he doing?
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We live in oppressive times. We have, as a nation, become our own thought police but instead of calling the process by which we limit our expression of dissent and wonder ‘censorship,’ we call it ‘concern for commercial viability.
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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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The audience requires not information but drama.
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