This book is, at best, a "meh!".

It is so overly redundant that one has to wonder if the author couldn't have simply summed up all the key points in a single article.

Even if that were the case, I would still have hesitated to share it with others.

The content seems to be stretched out needlessly, lacking in any real depth or innovation.

There are countless other books out there that offer more engaging and thought-provoking material.

This one just fails to make the cut and leaves the reader with a sense of disappointment.

It's a shame really, as there may have been some interesting ideas buried within, but they were simply not presented in a way that made them worth the time and effort to discover.

In conclusion, I would not recommend this book to anyone looking for a worthwhile read.

I don't think this book should have been called 'On Directing Film'. It truly isn't about film direction in the comprehensive sense. At best, it can be utilized for writing a scene, and that too only for the theater.

Mamet's vision seems to be limited solely to Eisenstein's theory of montages. His only assertion for filmmaking is that 'film is a sequence of uninflected images in juxtaposition'. However, he fails to address crucial aspects such as budget, lighting, art, and costume.

Moreover, he completely neglects to discuss the process of film direction. The few small insights he provides for direction are highly subjective in nature. They might work for one particular film, but they are by no means universal principles that can be applied across the board in the world of filmmaking.

This book appears to fall short in many areas that are essential for a comprehensive understanding of film direction.

Being generous, one could give it 2.5 stars. Mamet is far too simplistic and reduces the art of cinema to practically just techniques. It's a book that you can benefit from if you already have some previous training (in photography, acting, screenwriting, directing, etc.) because it gives some general rules that can be quite useful (the best moments are when he mentions another author XD). However, I think it's very bad as a first approach.

The sections on acting, production (which makes sense in the big industries like Hollywood, although it doesn't apply to all and in reality, production has many necessary nuances that work with the work and not against it), acting (incredible), and even directing (doubly incredible) are diminished and not given enough justice.

It's another "American" who sins of being utilitarian.

Finally, I understand the objective of having a chapter on dialogues, and it serves its purpose well (but it's very tedious and boring). But what was the need to do it in another chapter as well?._.

P.S. The best thing about the Spanish version is the introduction by Otto Minera. It even makes you believe that Mamet is going to say wonderful things✨

I truly didn't believe it was feasible to peruse a 107-page book and then think, "This could have been significantly, incredibly shorter." However, that's precisely the situation.

There are indeed several astute insights within these pages. Nevertheless, they are unfortunately overshadowed by Mamet's tirades against nearly everyone who isn't David Mamet.

In these dialogues, his interactions with the students seem to impede rather than foster exploration and creativity. It's a pity that what could have been a more profound and engaging read is marred by these aspects.

Perhaps if Mamet had focused more on developing the good ideas and less on his diatribes, the book would have had a greater impact and been a more enjoyable and enlightening experience for the reader.

Qué libro más increíble!

La verdad es que me dejó profundamente reflexionando sobre la práctica del cómo contar una historia a partir de imágenes. Es asombroso cómo se puede entender la yuxtaposición de elementos que van a permitir narrar algo de manera tan sutil y efectiva, considerando al espectador como un ser inteligente y no exponiendo todo de manera explícita.

Realmente, se trata de un gran texto que ofrece una perspectiva única y valiosa sobre el arte de contar historias visualmente. Si te estás formando como cineasta, este libro es absolutamente imprescindible y no puedes saltarlo. Te abrirá nuevas puertas y te inspirará a explorar formas innovadoras de expresión cinematográfica.

An interesting, short yet informational piece on how to direct, as per David Mamet. I have to confess that I don't concur with all the points he presents. However, he has some captivating viewpoints that made me ponder. There are definitely a couple of aspects in it that I could utilize when guiding our film group's next short film. The format is pleasant to read, particularly the parts in script form where the discussion between Mamet and his students is detailed. I did sense that he lingers on certain matters a bit too long. I felt I had grasped the point five pages earlier and became impatient to progress. But overall, it was a rather agreeable read for a non-fiction book.

Moreover, Mamet's insights offer a fresh perspective on the art of directing. His experiences and teachings can serve as valuable lessons for both novice and experienced directors. While not all of his ideas may resonate with everyone, there is still much to be learned from his work. The book provides practical tips and techniques that can be applied in the filmmaking process. It also encourages readers to think outside the box and explore new ways of approaching their projects.

In conclusion, although I may not agree with everything Mamet says, this book is definitely worth a read for anyone interested in the art of directing. It offers a unique and thought-provoking look at the subject, and contains some useful information that can help filmmakers improve their craft. Whether you're a beginner or a seasoned professional, there is something in this book for you.

So you're going to have to make a crucial election regarding what this scene is truly about. It's not just an ordinary decision. This election isn't about simply finding 'an interesting way' to film a scene, which is often an election based on novelty and essentially a longing to be well-liked. Instead, it's about making a profound statement. It's about saying, 'I would like to base my choice on the meaning of the scene, not just its appearance.' This is the discerning choice of the artist. It shows a deeper understanding and a commitment to expressing something more meaningful through the scene. It's not about the superficial aspects but about delving into the essence and communicating a message that goes beyond the visual. This is where the true artistry lies, in making this kind of conscious and purposeful decision.

Very good stuff here indeed. It makes one think about the importance of intention and meaning in the creative process.

I think if there is one word I would use to describe this, it would be'reductionist'. He abstracts and reduces everything into a simple cynical package.

For example, people are reduced to 'What they want', as if you can strip a person down to this one-dimensional aspect.

There's also an arrogant air to the writing. He speaks as if his opinions are absolute facts. Furthermore, I disagree with almost everything he says, and some of it is self-evidently false. For example, he says "there's no such thing as character" - really? (This ridiculous statement somehow becomes fact because Aristotle said it). Also, he claims that the only reason people speak is to get what they want.

It's notable that Mamet is a better writer than he is a director. And you can kind of see why. He says writers should remove unfilmable character descriptions from scripts. You may not be able to film them, but they may be useful for the actors.

He dogmatically sticks to the formula that you should 'tell it in the cut', but why not just in a shot? In fact, he generally speaks like there's a mathematical process by which you arrive at the shortlist.

The unfortunate thing is that he's quite influential in American writing. You see Mamet's influence in almost every modern 'hardboiled' TV show, where every ‘non-character’ is simply a degree on the sociopathic spectrum, trying to "get what they want".

I think reacting against cheesy innocence, we arrive at black cynicism, missing the grey area where humanity really lives.

Half of this book is just a discussion about a scene in which a student walks into a classroom. Really, that's it. That's how interesting the scene is, and the discussion isn't much better. Is this attention to detail? I would say it's all trees and no forest. What it really is, is bullshit.

David Mamet is known for having strong and often outspoken opinions on a wide range of matters. That in itself is perfectly acceptable. However, I simply don't have the desire to read a book that continuously asserts that I'm crazy and/or pretentious just because I happen to enjoy the films of those who don't adhere strictly to an Aristotelian model.

I have indeed discovered interesting and valuable insights in many of Mr. Mamet's works, be it his books, plays, or films. In fact, I even make use of "Three Uses of the Knife" in one of my script analysis classes. But this particular piece only served to frustrate me. He comes across as such an unrelenting jerk when it comes to everything. It seems as if he is determined to impose his narrow perspective and belittle those who have different tastes or preferences.

It's a shame because there are aspects of his work that I do appreciate, but this kind of attitude really detracts from the overall value and enjoyment of his writing. I wish he could be a bit more open-minded and less judgmental, as it would make his work more accessible and engaging for a wider audience.

In my opinion, if this guy had just confined himself to writing about scripts and how to create a shot list, it would have been significantly shorter and of better quality.

Scriptwriting is a crucial aspect of any film or video production. It lays the foundation for the entire story and determines the flow and pacing of the narrative. By focusing solely on this area, the author could have delved deeper into the nuances of scriptwriting, providing valuable insights and tips to aspiring writers.

Similarly, a shot list is an essential tool for filmmakers. It helps them plan and organize their shots, ensuring that they capture all the necessary elements to bring the script to life. By discussing the process of creating a shot list in detail, the author could have offered practical advice on how to make the most of each shot and how to create a visually engaging and cohesive final product.

Overall, by narrowing the scope of his writing to these two key areas, the author could have produced a more concise and informative piece that would have been of greater value to his readers.

Ok grandpa,

Grandpa is such a special person in my life. He has a wealth of wisdom and experience that he is always willing to share with me. I love sitting down with him and listening to his stories from the past. His voice is so comforting and his words always carry a certain weight.

Grandpa also has a great sense of humor. He can always make me laugh with his silly jokes and antics. Even when I'm feeling down, he knows just how to cheer me up.

I cherish the time I spend with grandpa. He is not only my grandfather but also my friend and mentor. I hope that I can always have him by my side, guiding me and teaching me.

A few opinions were presented that I initially wasn't entirely certain I could agree with. However, as I listened to Mamet's explanations and arguments, he ended up being extremely convincing. His ability to present his thoughts clearly and logically made me reevaluate my own stance. He provided detailed examples and独到的 insights that supported his viewpoints. It was fascinating to see how he could take ideas that I had doubted and turn them into something that seemed quite reasonable. By the end of his presentation, I found myself not only understanding his perspective better but also being swayed by his convincing manner. It just goes to show that sometimes, even when we start with doubts, a well-presented argument can change our minds.