David Mamet
David Mamet
David Alan Mametis an American playwright, essayist, screenwriter, and film director. As a playwright, Mamet has won a Pulitzer Prize and received Tony nominations for Glengarry Glen Rossand Speed-the-Plow. Mamet first gained acclaim for a trio of off-Broadway plays in 1976, The Duck Variations, Sexual Perversity in Chicago, and American Buffalo. His play Race opened on Broadway on December 6, 2009...
NationalityAmerican
ProfessionPlaywright
Date of Birth30 November 1947
CityChicago, IL
CountryUnited States of America
In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.
I love all insider memoirs. It doesn't matter whether it's truck-drivers or doctors. I think everybody likes to go backstage, find out what people think and what they talk about and what specialised job they have.
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.
Conservatives believe in smaller government and in the power of the electorate. So I think that we're less likely to try to use a dramatic forum to warp people's political views.
If you're neurotic and you think, I'm not where I deserve to be or my mother didn't love me, or blah, blah, blah, that lie, that neurotic vision, takes over your life and you're plagued by it 'til it's cleansed. In a play, at the end of the play, the lie is revealed. [T]he better the play is, the more surprising and inevitable the lie is, as Aristotle told us. Plays are about lies.
I tend to write a lot, which I think is the secret to being prolific.
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.
Anyone can write five people trapped in a snowstorm. The question is how you get them into the snowstorm. It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience. To think of a plot that is, as Aristotle says, surprising and yet inevitable, is a lot, lot, lot of work.
I used to think I'd like to be a fireman - in fact, I still would - and the only drawback I could see was coming back to the firehouse, after a day of fighting fires, and still having to put in an eight-hour day writing.
I don't think there's any information to be gotten from television.
When we fear things I think that we wish for them ... every fear hides a wish
Do not internalize the industrial model. You are not one of the myriad interchangeable pieces, but a unique human being, and if you've got something to say, say it, and think well of yourself while you're learning to say it better.
A novel it's different. It's kind of exhilarating not to have to cut to the bone constantly. Oh, well I can go over here for a moment. I can say what I think the guy was thinking or what the day looked like or what the bird was doing. If you do that as a playwright, you're dead.
It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience.