The title of this work is a misnomer. In fact, it should have been named On How David Mamet Directs Film, as that is truly what it pertains to.

He asserts that the majority of a movie is essentially crafted before a director even sets foot on the set. Subsequently, the director's role is merely to remain vigilant while the actors perform their tasks. He adopts a rather reductive and mechanistic approach to film directing, which is well-suited for his dense and highly literary screenplays. However, most directors do not apply such a way of thinking to their own work, and for that, we should be grateful.

Overall, this book offers a peek into the mind of an idiosyncratic writer/director. All of his armchair theorizing makes for amusing reading if one is inclined towards that sort of thing. Nevertheless, for a far more informative, practical, and down-to-earth introduction to filmmaking, I would recommend picking up Sidney Lumet's Making Movies instead.

It provides a more comprehensive and hands-on understanding of the filmmaking process, covering various aspects such as scriptwriting, casting, shooting, and editing. Lumet's book is a valuable resource for both aspiring filmmakers and those who are simply interested in the art and craft of making movies.

Playwright, screenwriter, and director Mamet delivered a lecture to some college students on the topic of how to conduct his art.

According to Mamet, it is truly very simple. He emphasizes the importance of focusing on the minimum cinematic unit, which he defines as The Shot. In his view, a movie is merely a series of shots, and the key to telling a story lies in the arrangement of these shots. He firmly believes that dialogue is not as crucial as the action that is captured within the shots.

What is most surprising is his intense dislike for actors who presume to interpret the director's vision or become too immersed in their characters, believing that the cinematic art is about something other than creating The Shot (or rather a series of shots). He seems to be astonished that they would dare to think otherwise. Mamet's perspective offers a unique and thought-provoking take on the art of filmmaking, challenging the traditional notions and expectations that often surround this creative field.

His ideas may inspire students to reevaluate their own approaches and understandings of the cinematic medium, and perhaps even encourage them to explore new ways of creating and presenting stories through the power of The Shot.

This concise volume has the feel of a Platonic dialogue on the very subject it is named after. What I truly adore is the way Mamet dissects the story, the scene, and the beat. He is constantly urging his students to renounce the "cult of Self" and pursue the simplest solution.

Despite being only 106 pages long, the reader can breeze through this book in an afternoon with ease. However, its uncomplicated lessons have the potential to have a profound impact and enhance the reader's comprehension and admiration of all the dramatic arts for many years to come.

It's remarkable how such a small book can pack such a powerful punch. The ideas presented by Mamet are not only thought-provoking but also practical and applicable. Whether you're a seasoned actor, a director, or simply someone with a passion for the dramatic arts, this book is sure to offer valuable insights and inspiration.

So, if you're looking for a quick read that will leave you with a new perspective on the world of drama, look no further than this short but mighty volume.

I am a big fan of David Mamet's work.

This book, through basic visual concepts, has been extremely helpful in enabling me to understand an area of film making that I previously didn't feel knowledgeable about.

Now, the position regarding this aspect makes much more sense. Storyboarding is indeed key, and it seems absolutely true.

Since the director essentially views what the audience will see, his theory of designing a story by way of juxtaposition has made me even more excited to learn and hone this skill.

I look forward to delving deeper into this area and applying the concepts I have learned from this book to enhance my understanding and skills in film making.

Overall, this book has been a great resource for me and has opened up a new world of possibilities in the realm of film making.

I read this work as I had heard numerous praises for it from artists who were attempting to apply it to other storytelling forms. It was particularly popular among cartoonists for a certain period. By looking closely and skipping over many angry-yet-smug crank rants, I managed to perceive what they saw in it.

There are indeed some valid points regarding the process. The fundamental concept of zeroing in on what one is trying to communicate and seeking the key images or transitions that are most crucial to that, while being aware that audiences will also interpret unintended meanings from every detail. (One of the rare moments when Mamet, perhaps the world's only logical man in his own view, seems to actually have some fondness for human irrationality is when he states that every film is dreamlike.)

However, I consider myself extremely fortunate that I never had to have this person as a teacher. For every page of actual insight, there are ten pages of pointless venom, absurd reductiveness, and intellectual trickery. This makes it easy to walk away with more bad lessons than good. I would only recommend it if you already have a strong sense of what you like and what you are trying to do creatively, and are in search of some different perspectives or constraints that might occasionally be beneficial, while disregarding the pompous blowhard who is telling you that you shouldn't like what you like and that everything should be only one way. Longer review here (in a somewhat more appreciative tone because I wrote it at a time when I hadn't yet been exposed to quite so much of his worst material).

I was truly filled with apprehension when I picked up this book. It was a really tiny volume, yet it was rather costly. However, being a devoted fan of Mamet and someone who is deeply involved in the film industry, I simply had to purchase it and give it a read.

I adored the way Mamet has penned this book. Indeed, there may not be an abundance of content within its pages, but every single word is pure gold. It will prove to be of greater assistance in your film writing and directing career than any other book that might have a hundred pages.

Most of the content is presented in the form of dialogues between him and his students. It felt as if you were actually sitting in a workshop with Mamet himself, receiving his guidance and listening to his experiences on how to create a great movie.

Although the title of the book is "On Directing", I would argue that this book is more about screenwriting than direction. This is because Mamet is a writer first and foremost, having created numerous plays, screenplays, and novels, and only later became a director with films like "House of Games".

I absolutely loved this book and I am certain that I will read it again. The last page of this book had a profound impact on me. There is a question that one of his students poses to him, asking what if he expends a great deal of effort on his movie but it still fails. Essentially, it is the question that everyone desires to ask - whether one's hard work will bear fruit.

The truth is that no one can state with 100% certainty whether one's hard work will pay off. You simply have to put in the effort and then hope that everything culminates in success.

Mamet responds to the student in the form of a story, and it was the perfect conclusion to a perfect book.

Of course, you have to read the book to discover what that story was.

If you are a filmmaking student and an aspiring writer-director, this book is an absolute must-read and another bible that you should study religiously, time and time again, to gain an understanding of the mind of the master screenwriter legend known as Mamet.

I knew it even before I delved into the book. David Mamet is truly far more valuable in his practical works. I have a great admiration for masterpieces like HOUSE OF GAMES and HEIST. However, when he engages in theorizing, attempting to explain art and the world to us and providing commentary, it just doesn't have the same impact.

If anyone was taken aback by his highly public emergence as a Glenn Beck-worshiping political conservative, they clearly failed to read between the lines of the extreme, simplistic narrowness that he presented in essay-books such as these. It is solid evidence that being "bright" is very similar to being "cool". In and of itself, it is very often far from sufficient. There is so much more to understanding and appreciating an artist than just their intellectual prowess or theoretical musings. We need to look beyond the surface and consider the full range of their work and their true beliefs and values.

Mamet definitely has a wealth of interesting insights. This implies that the book holds significant value for students of film, as well as for those, such as myself, who are on the verge of pursuing an MA in directing. However, there is a drawback. I didn't appreciate the fact that his ego was blatantly evident throughout the entire book. He seldom accepts suggestions from students or other individuals. Moreover, he has a very clear and singular vision of what a movie should be, at least in terms of structure or objectives. This means that one will not encounter any counter-arguments or interesting alternatives within the pages of this book. Once again, it is useful and contains a great deal of wisdom and practical advice. Nevertheless, some of it should be regarded with a certain degree of caution.

This is a very practical and insightful read.

Mamet delves into the ethereal and floaty concepts surrounding writing and telling a story. He masterfully breaks them down into easily manageable, bite-sized, practical tools.

These tools not only make it possible for you to comprehend the complex ideas but also enable you to practice the work on your own.

By presenting the information in such a practical manner, Mamet allows readers to apply the concepts directly to their own writing or storytelling endeavors.

Whether you are a novice or an experienced writer, this book offers valuable insights and practical advice that can enhance your skills and help you create more engaging and impactful stories.

It is a must-read for anyone interested in the art of writing and storytelling.

Even though I have my reservations about Mamet's nearly obsessive concentration on the hero's journey,

this book undeniably serves as an excellent resource and provides an introduction to several fundamental concepts regarding film directing.

If every director were to follow Mamet's style blindly, the cinematic world would likely become a rather dull place.

However, it is beneficial to contemplate the reasons and ways in which one disagrees, as this can help to mold one's own unique vision.

Moreover, the book has its merits. It is concise, which makes it accessible and easy to read.

Additionally, at times, it can be quite humorous, adding an element of entertainment to the learning process.

Overall, despite my differences with Mamet's approach, I still believe that this book has value and can offer valuable insights to those interested in the art of film directing.

Mamet's book on acting, \\n  True and False\\n, was a rather audacious protest.

He verbally reamed the performers who create \\"characters\\" and strive for \\"interesting\\" choices. Stanslavski and method actors are worthless to him.

Mamet argues that acting is about understanding the play's text objective and executing it in the most uninflected way.

The actor's job is to speak clearly, be physically fit, and communicate the play as written.

He scoffs at accents, mugging, and such. His book was a revelation to me, helping me feel okay about dodging acting as a career.

His book on filmmaking, On Directing Film, is brief and readable but lacks the wisdom of True and False.

Taking a conversational style, he works through his theories on the spot.

He emphasizes objective, decrying filmmakers who focus on elaborate images instead of the story.

He writes that a movie script should be a juxtaposition of uninflected shots.

I like his point but also like movies with meandering dialogue.

Mamet's films are mostly mediocre, but understanding his outlook helps a bit.

His style of stripping narrative creates mystery but often results in heavy-handed plot twists.

On Directing Film is worth reading for self-scrutiny but isn't as comprehensive as True and False.

It covers territory he's less familiar with, like not addressing how to use dialogue in his way.

He also has little to say about editing and his advice on shooting is simplistic.

While it's liberating to not worry about pretty shots, I believe in the visual power of film.

An example is Gerry with its beautiful visuals.

I'm glad On Directing Film made me think, but it's not a seminal text.

Mamet already has plenty of those anyway.

David Mamet, a man of letters, holds some entertainingly eloquent yet perhaps misguided views on film directing.

He approaches filmmaking with the fanaticism of a newly converted, believing it's all about Eisenstein, Hitchcock, and montage. According to him, actor's direction doesn't matter much, and camera placement even less.

Moreover, he thinks most contemporary art is degenerate and Hollywood studio producers are soulless idiots who inevitably corrupt the films they produce.

While it's great fun to disagree with his views, his artistic ethos - to mistrust your ego and just stand and deliver - truly deserves admiration and respect.

His ideas, whether we agree with them or not, force us to think deeply about the nature of film directing and the role of the artist in the creative process.

Perhaps his unorthodox approach can inspire new ways of looking at filmmaking and lead to the creation of truly unique and innovative works of art.