I have a great admiration for the way he demonstrates to us how a plot develops and transforms into cinematic images.

His ability in this regard is truly remarkable. He has a unique talent for taking a simple story and gradually building it up, layer by layer, until it becomes a captivating and engaging narrative.

The way he visualizes the plot and brings it to life on the screen is simply outstanding. He pays attention to every detail, from the setting to the characters, and creates a world that is both believable and immersive.

His work is a testament to his creativity and skill as a filmmaker, and I look forward to seeing more of his masterpieces in the future.

This book offers several interesting concepts regarding the construction of scenes via shots.

Nonetheless, there are numerous aspects of this book that are rather unappealing. To begin with, two chapters are presented in the form of classroom discussions. Essentially, he dismisses the ideas of most students and compels them to embrace his perspective on movies. The outcome is two extremely dull scenarios.

Secondly, he holds a highly negative attitude towards actors and producers. If any of his students were to adopt his views, they would encounter great difficulties in collaborating with others within the film industry.

Finally, I believe it would be rather uncomfortable for a woman to be in his classes. He frequently interjects comments about sex and prostitutes during his lectures to illustrate his points. His worldview appears to be very male-centered and does not seem to allow any room for female directors.

I actually despised this book.

Now, it's not that I think the book is completely useless. The main thrust of what Mamet is saying is quite good. That is, one should know the purpose of a scene or shot, do just that, and cut out whatever is superfluous.

However, I don't agree with many of the ways Mamet applies this basic principle. I believe the main difference between him and me is that he views film as "design" rather than "art". He thinks one should approach film-making like making a chair or a house, not like creating a painting or sculpture.

Personally, I find this view incredibly narrow. Film is just a medium, and a wide variety of things can be accomplished with it.

In many cases, it does make sense to approach a movie like a chair or a house. But there are also cases when film can be art, or perhaps most commonly, a combination of art and design.

Many of my favorite movies are like this. They are both well-designed and artistic. The shots are not "uninflected", as Mamet likes to say, but they are still intentional, used to evoke emotions or deepen the storytelling on a subconscious level. They are not superfluous.

It's not just the fact that I disagree with Mamet that makes me despise his over-hyped book. It's his arrogant, know-it-all attitude that pervades every page and annoys me to no end.

Mamet preaches what I consider to be pretty basic storytelling principles, and not even universal ones at that, but presents them as if they are the words of a master. He seems to claim that this is all you need to know to tell a visual story.

But I think what he presents is just the beginning of what one can learn, and even then, a reasonable person can disagree with many of his assertions. So it's really not all that.

At least Mamet seems to have some self-awareness. This gem of a quote, found in the middle of a bizarre rant against producers, is too good not to share: "I have a great deal of pride and, I suppose, a large admixture of arrogant pride."

You don't say, Mamet. You don't say.

This book was truly eye-opening. Mamet delved not only into the way we create films but also into the way we construct stories. Moreover, he presented his ideas in a manner that can be applied to any art form or anything that involves a narrative.

I greatly appreciate how certain parts of the book were formatted like a conversation. This approach made such complex concepts easily understandable and followable.

I really relished reading this book and will now refer to it in all the projects I undertake. It makes me question how I am presenting my story and what aspects I am concentrating on. What is my central theme and what is the objective?

In conclusion, this book is truly wonderful and has provided me with valuable insights that will undoubtedly enhance my work in the future.

The movie was indeed interesting in certain aspects.

It had some engaging moments that managed to capture the attention of the viewers.

However, it also presented a rather technical side.

For someone who had only directed two movies at that particular time, handling the technicalities might have been a bit of a challenge.

The complexity of the film's technical elements could potentially be overwhelming for such a novice director.

Despite this, the director seemed to have made an effort to incorporate these technical aspects in a way that added to the overall appeal of the movie.

Perhaps with more experience and a deeper understanding of the technical side of filmmaking, the director could have further enhanced the movie's quality and made it even more captivating.

Nevertheless, considering the director's limited experience, the movie still managed to hold its own and offer an interesting viewing experience.

Thought-provoking yet slightly annoying. Mamet's metaphors fail to resonate with me. I can't quite buy the comparisons he makes between crafting a film and crafting shoes, homes, or chairs.

He does make some excellent points regarding simplicity, planning, and montage. However, his tangential rants, although entertaining (he truly despises performance art), actually undermine his arguments.

Moreover, this work seems very much in the vein of Western philosophy, dude-centric, and has an arrogant professor-style that really bugged me. I'm aware that this description is rather vague, but the absence of even theoretical female perspectives was so glaring that I had to check the copyright date. 1991??? Seriously?

Nevertheless, for someone like me who knows very little about film direction, this serves as an interesting little introduction. It provides some food for thought and offers a glimpse into the world of film direction, despite its flaws.

Perhaps with a more inclusive and diverse approach, Mamet's ideas could have been even more impactful and engaging.

This book has an amazing charm that makes you feel as if you were actually in a classroom. It is written in the form of a dialogue between Mamet and his students, taking you through the process of writing a script in real time.

One of his main ideas, which is that the story is created from juxtaposed images - "let the cuts tell the story", is beautifully put into practice. This is extremely beneficial for novices like me.

The exercise of reducing the story to its essence in each step, whether it's a scene or a cut, provides a simple yet effective way of creating a backbone for the entire script. It helps to avoid getting lost in superficial details and ensures that the main narrative remains clear and strong.

Overall, this book is not only useful but also an easy read. It offers valuable insights and practical techniques that can enhance your scriptwriting skills.

I thought this book was good. It wasn't great, but it was a decent read. This might be partly because I have zero interest in Directing.

However, I do recommend this book for actors and writers. Mamet shares some really good advice on breaking down scenes and the visuals that are best used to capture the essence of a scene and the beats.

"On Directing Film" is based on a series of classes with Mamet's students. It does well to look at every aspect of directing, but it doesn't read as interesting as it should be. It gets bogged down with too much technicality. This can make it a bit of a slog to get through at times. But if you're really interested in the nuts and bolts of directing, it's definitely worth a read. The advice on scene breakdown and visual storytelling is particularly valuable and could be applied to a wide range of creative projects. Overall, it's a solid book, but it's not without its flaws.

Coming from the perspective of a writer first, I discovered a wealth of thought-provoking insights regarding the craft of writing fiction.

The second chapter reveals how one can take a small idea for a story, such as a student desiring to impress a professor, and construct the narrative through shots and beats. If you're lacking an idea for a short film, I believe you can engage with Mamet in this chapter and emerge with a solid concept.

Here are some of my favorite lines: "Tell the story to a guy in a bar. That’s the shot list."

On page 14, it emphasizes making the audience wonder by placing them in the same position as the protagonist.

Page 15 states, "If it’s not essential, you throw it out."

Page 25 suggests, "Tell the story in cuts. We’re going to adopt this as our motto."

Mamet is completely focused on the objective and super objective of the protagonist.

Page 36 mentions, "We’d like our movies to be greatly expressive of our fantasy life."

Page 37 points out, "It’s going to make our task a lot easier if we always know both where we’re going and when we’re finished."

Page 45 explains, "What’s going to happen is exactly this process of wondering and revising--to work every time either to create or to discern a through line."

Page 47 poses questions like, "What music is playing? What do the costumes look like? Somebody makes these decisions, and that person is called the director."

Our beats include showing up early, preparing, paying homage, and presenting the case. The shots for showing up early are to set the stage.

Page 52 provides a tool: choose your shots, beats, scenes, objectives, and always refer to them by the names you choose.

Page 64 advises getting out of the scene before the problem is resolved and having it answered in the next scene.

Create immediate questions like, "Will she call?" (LOTBS as a stage play and an indie film I can shoot).

Page 68 emphasizes that just as the shot doesn't have to be inflected, the acting shouldn't be either. This is a crucial lesson about acting. (Perform as simply and calmly as possible).

A take to try is to do it as simply as you can.

The essential nature of film is that it consists of disparate shots cut together. It could be a door, a hall, or something else. Put the camera there and photograph that object as simply as possible.

Page 77 states that directing is just a technical skill. Make your shot list.

Note to self: make a shot list of what I want, obtain those, and then go back and get additional coverage if desired.

Page 107 concludes, "It’s only up to you to do your job as well as you can, and when you’re done, then you can go home."

This book is an outstanding exploration of assuming the role of the director and breathing life into an idea by communicating a sequence of images.

What I truly appreciate is the way the author engages in a Q&A (workshop) format with students in this book.

Mamet makes a concerted effort to avoid discussing angles and visual style. He believes that these aspects are the domain of the Director of Photography (DOP) and should be part of the initial planning discussions with that person. Admitting that these are not his strong suits, he instead emphasizes that shots should convey meaning through staging, action, and juxtaposition. Information should not be simply read or told but rather questioned, answered, and experienced.

His points are further emphasized through demonstrations in a workshop format between students and himself in two of the longest chapters near the beginning and end of the book, which I thoroughly enjoyed.

A prominent theme that runs throughout the book is that putting in the hard work is essential for understanding the job. It focuses intently on workshopping, getting to the core of communicating the information within the shot, and eliminating the extraneous elements. This, in turn, makes it easier to convey what is happening in the shot with the sets, props, actors, and so on.

Overall, this book offers valuable insights and practical guidance for anyone interested in the art of directing.

I purchased this book as recommended reading for one of my film classes. And I'm truly delighted that I didn't choose to skip reading it! Mamet presents extremely interesting theories regarding directing that can also be applicable to acting and screenwriting.

As someone with a concentration in producing, I essentially know next to nothing about directing. Therefore, this book proved to be very enlightening for me.

I adored the inclusion of his lectures. They assisted me in understanding the thought process to a much greater extent than if it were merely from his perspective. It also enabled me to work through the exercises on my own, which truly enhanced my understanding of the theory.

Overall, I would highly recommend this book to anyone interested in film, whether you're a director, actor, screenwriter, or producer. It offers valuable insights and practical exercises that can help you improve your skills and understanding of the craft.

Mamet writes a concise and to-the-point book, which is very similar to the filmmaking approach he champions. It's truly a pity that I didn't come across this book before commencing my Masters in film. Had I done so, it would have been extremely beneficial. In fact, I have gleaned more knowledge from this book than I have in film school up until now. I'm quite certain that I will read it several more times in the future. If you have a genuine interest in filmmaking as a craft, I cannot emphasize enough how highly I recommend this book. It offers valuable insights and practical advice that can enhance your understanding and skills in the field of filmmaking.