Chapter 1: Storytelling

Storytelling is an art that requires a unique approach. It's not about making the audience guess the importance of elements in the story. Instead, it's simply about telling the story and allowing the audience to be surprised. Movies, in fact, are closer to simple storytelling than plays. When people tell stories, they do it cinematically, jumping from one thing to the next, and the story progresses through a juxtaposition of images, which is achieved through the cut. If a point can't be made without narration, it's likely unimportant to the story and the audience, as they only require drama, not unnecessary information.

The director's work involves constructing the shot list from the script. The work on set is relatively simple; it's just about staying awake, following the plans, helping the actors be simple, and maintaining a sense of humor. The film is truly directed in the making of the shot list, and the work on set is merely to record what has been chosen. It's the plan that ultimately makes the movie. Additionally, the purpose of technique is to free the unconscious, as only a mind focused on a task can achieve true creativity.

Chapter 2: "Where do you put the Camera?"

The story's interest lies in the progress of the protagonist. It's the protagonist's objective that keeps the audience engaged. As Aristotle said, character is nothing but habitual action. What matters is what the person does in pursuit of the superobjective and the objective of the scene. As long as the protagonist wants something and is clearly going after it, the audience will wonder about their success. In both scenes and shots, if something isn't essential, it should be discarded. The audience is smarter than we think and already anticipates the punchline. To keep their attention, we should withhold all information except what's necessary for the story's progress.

The steadicam, like the computer in writing a novel, is just a labor-saving device that simplifies the mindless aspects of a creative endeavor. When making choices, we should choose the way closer to the objective, discarding what's merely cute or interesting, and especially what has a "deep personal meaning" for us. Why repeat the same beat? We should move on. It's often said that burning the first reel can make a movie better, and it's true. We don't need to worry about creating problems; instead, we should focus on restoring order. The audience will accept anything they haven't been given a reason to disbelieve, and as a director, every choice must be based on whether something is essential to telling the story.

Chapter 3: Countercultural Architecture and Dramatic Structure

Planning is crucial in filmmaking, just like working with glue. It's best to do it upfront when there's time. The film director's job is to tell the story through the juxtaposition of uninflected images, as this is the essential nature of the medium and how human perception works. If we understand the scene, we understand the play or movie. In movies, it's often better to get out of a scene before the problem is over and have it answered in the next scene, showing respect for the audience by getting into the scene late and getting out early.

Chapter 4: The Task of the Director

If you don't know what you want, you won't know when you're done. Just as the shot and the acting don't have to be inflected, the actor's job is to be direct, not emotional. The purpose of dialogue is not to carry information about the "character"; people speak to get what they want. If we're telling the story with pictures, dialogue is like the sprinkles on an ice cream cone. The story is carried by the shots, and the perfect movie would ideally have no dialogue. We should always strive to make a silent movie, letting each shot stand on its own. The answer to the question of where to put the camera is determined by what the shot is of. Directing is just a technical skill that involves making a shot list.

Chapter 5: Pig -- The Movie

When it comes to filmmaking, if we can suggest an idea, we can often shoot it better than showing it directly. When justifying a character's actions, we shouldn't split our focus. Two reasons are as good as no reasons. We can identify more easily with the pursuit of a goal than with "character traits." As Leadbelly said about the blues, the stakes change in each verse, just like in a play or movie. We don't want to use the same element in a repetitive way; we want to see what else it can do.

Chapter 6: Conclusion

Real technique is based on things within our control. Our choice of shots is everything. We can't rely on the editing room or the actors to make up for deficiencies. If we're correct in the small things, like the single uninflected shot, we'll be correct in the larger things. The more time and ourselves we invest in the plan, the more secure we'll feel面对恐惧、孤独或那些我们向其要钱或寻求宽容的人无情或无知的评论. The pursuit of an ideal is important as it leads to a greater possibility of the unconscious asserting itself and, thus, a greater possibility of beauty in our work. We should understand our specific task, work until it's done, and then stop.

I’ve been constantly struggling with the issue of overthinking my film. It seems that I get lost in a maze of thoughts and ideas, unable to find a clear path. But then, reading this particular piece was like a breath of fresh air, the perfect remedy for my muddled mind.

However, I don't believe that this presented process is the absolute perfect one or the only one that must be adhered to. You shouldn't blindly follow it alone, treating it like buoys in a channel as Mamet describes in the conclusion. While I do agree that film should essentially be about storytelling, it should also serve as a means to convey the truth about life.

If one always rigidly follows the process of the through line, there is a risk of creating something artificial. It might result in a film that looks good on the surface but fails to resemble the true essence of reality. Moreover, the juxtaposition of a cut that he emphasizes as the only aspect of storytelling in film is indeed not the sole factor. Maybe it is the most cinematic aspect, but within a single shot, framing and blocking can also tell a story effectively.

Nonetheless, this is still a great book. After all, you can't realistically expect someone who had directed only two films at that time to completely "solve" the complex art of filmmaking. Overall, I would highly recommend this book to anyone interested in the world of film.

Mamet's comprehension of cinematic language is rather restricted. He has chosen to model it solely after Eisenstein, which leads to a rather one-sided approach. This limitation, when combined with his overly confident and authoritarian style, makes this manual seem somewhat absurd.

His unwavering belief in his own methods and his tendency to impose them without much flexibility or consideration for other perspectives gives the impression that he may be missing out on the丰富多样的 possibilities that exist within the realm of cinematic language.

Perhaps if Mamet were to expand his视野 and explore other cinematic models and techniques, his manual could offer more valuable and comprehensive insights. As it stands, however, the combination of his limited understanding and authoritarian style detracts from its overall credibility and usefulness.

A concise and clear reference book, structured based on the principle of lectures and dialogues with students.

Right before our eyes, with vivid examples, Mamet constructs the story, and along with it, the picture of the film. All the common and controversial points are voiced by the students, anticipating your guesses.

It is important to note that David Mamet is a representative of the strong 'classical' school. You may argue and disagree with it, but it will always prove to be stronger and more convincing than any impressionistic outbursts of young contemporary filmmakers.

This book offers a unique perspective on filmmaking, presenting the ideas and techniques of a master in an engaging and accessible way. Whether you are a student of film or a passionate cinephile, this book is sure to provide valuable insights and inspiration.

So, if you are looking for a comprehensive and thought-provoking guide to the art of filmmaking, look no further than this remarkable book by David Mamet.

What I like most about this book is the sincere advice in it that focuses on the fundamentals of film, and how to analyze a cinematic scene for a group of shots and focus on the role of the image and the cuts to convey the idea.

The author speaks realistically and practically about these fundamentals and gives more than one example by discussing the idea of two short films from a group of students, and how to analyze the scene and write it in a way that makes its shooting easier. So this time invested in analysis and writing is supposed to help the time of shooting and editing. Then the author does not give great importance to the shooting angles and the different beautiful aspects of the film because his main focus is on how to produce a film in a methodical way and in a way that helps the story reach the viewer.

This approach provides a valuable perspective for those interested in filmmaking, as it emphasizes the importance of a solid understanding of the basics and a systematic approach to the creative process. By following these principles, filmmakers can enhance the clarity and effectiveness of their storytelling, ultimately creating more engaging and impactful films.

David Mamet, a renowned American director, author, and playwright, delves into the technical aspects of filmmaking in his book.

The entire volume predominantly focuses on his dialogues with passionate students from Columbia University. He elaborates on where he derives his ideas and which filmmakers have had an impact on his style.

In this interactive book, film students intrigued by the art of filmmaking will gain from his profound understanding of the cinematic world.

His experiences in directing and scriptwriting are also presented in the book, which will assist and guide students. It is highly recommended for film enthusiasts.

Whether you are a budding filmmaker or simply someone with a love for movies, this book offers valuable insights and practical knowledge.

David Mamet's expertise and unique perspective make it a must-read for anyone interested in the inner workings of the film industry.

So, pick up this book and embark on a journey of discovery into the fascinating world of filmmaking.

You are sure to be inspired and enlightened by Mamet's words and experiences.

Lol, I started reading at the beginning of June and managed to get through 10 pages. However, after that, I didn't pick up the book for a while.

Surprisingly, I read the rest of it this morning and it turned out to be okay.

I have to admit that I don't entirely agree with everything that Mamet says. But then again, his writing is so theatrical that it's actually really entertaining.

I'm not sure if I really got that much out of this book though. Lol.

Maybe I need to read it again to fully understand and appreciate it.

Overall, it was an interesting read, but not one that blew me away.

I'll probably move on to something else and see what that has in store for me.

Who knows, maybe the next book will be a real gem.

This is a relatively fast read, although it can be a bit dry at times.

I came across this book on the recommendation of a friend who has a much deeper understanding of film than I do. It was one of several books recommended to assist me in starting to think about screenwriting.

I truly believe that, with regard to that specific objective, this book is beneficial for someone in the initial stages of contemplating how to translate a story onto film. Even from a more general writing perspective, there are nuggets of wisdom within its pages that are worthy of serious consideration.

Would I recommend this book to every writer? Probably not. However, I am glad that I read it and took the time to absorb its contents in preparation for my first foray into screenwriting.

It has provided me with some valuable insights and has helped me to better understand the unique challenges and opportunities that come with writing for the screen.

Overall, while it may not be a must-read for every writer, it is definitely a worthwhile addition to the library of anyone interested in screenwriting or the art of storytelling in general.

The protagonist in this story has a clear objective: to obtain what he desires. We follow his journey "shot by shot," seeing each moment as he takes action to achieve his goal.

He encounters various events along the way, each building on the previous one. There is no repetition of similar moments, as this would only prolong the story rather than progress it.

The events are personal and sentimental, told in the most profound and beautiful way possible. This unity in the event, scene, film, aesthetic, and the world makes for a powerful narrative.

In the final pass, the aesthetics are fashioned for clarity. Repeating objects are recognizable, as Mamet emphasizes the utility of aesthetics over mere pleasure.

Implementing this methodology in my writing, I found that I was writing more about the character than before. The characters in Mamet's method are slaves to the narrative and drama, doing what must be done beautifully.

This screenwriting method is more restricted than any I've encountered, but it would make for efficient and clear novel writing. I'm still not sure if this will last, as I've only written synopses for a few scenes.

"Dialogue is a gloss," as Mamet puts it. A character's question about the circumstances of a failed event reveals more about the story than a simple demand for money.

In my recent short films, I used overlays to create a more layered effect. While Mamet might have objected, I found that it had the desired impact. However, I'm now considering simplifying it to a more straightforward sequence of images.

Thinking in this way makes it more practical for me to go through the "back story" process, informing each action in a clear and beautiful way. Instead of my characters creating scenes haphazardly, they now follow a more deliberate path.

Overall, this method has made me think up a conceited dramatic plot detail, but it's a step forward in my writing process. I'll continue to apply it and see where it takes me.

One of my major pet peeves when it comes to books about filmmaking is the tendency of some writers to present certain rules or advice as absolute facts that are supposed to apply to all films.

Sure, it may be more challenging to secure financing for a film that is less conventional. However, if everyone were to make films exactly the way Mamet suggests, there would be no artistry left in the process.

I am especially eager to denounce this particular book because Mamet is so quick to condemn any movie that doesn't align with his own personal taste, which seems to be centered around fast-paced action and stone-cold acting.

He even goes so far as to single out Herzog as someone who is failing! This kind of narrow-mindedness is truly frustrating.

I really need to seek out filmmaking books from sources outside of Hollywood. There must be other perspectives and approaches that can offer more valuable insights and inspiration for those of us who are passionate about the art of filmmaking.

Get on with it, for the love of Mike. This phrase implies a sense of urgency and determination. It's like a rallying cry to push forward and not waste time. When it comes to a particular task or activity, we need to focus and just do it.

Getting into the scene late and getting out of the scene early might seem counterintuitive at first. However, in certain contexts, it can be a strategic approach. By entering the scene later, we might be able to avoid unnecessary preliminaries and jump right into the heart of the matter. And by leaving early, we can save time and energy, focusing on the most important aspects.

Telling the story in the cut is another interesting concept. It means that we can convey the essence of a story or idea through selective editing and omission. We don't have to include every single detail. Instead, we can pick and choose the most relevant and impactful elements to create a concise and engaging narrative. This requires a keen eye for detail and the ability to distill complex information into its simplest form.

The original article is not provided, so I can't rewrite and expand it specifically. However, I can give you a general example of how you might expand an article to around 300 words.

Let's say the original article was something like: "David and Lami are great. They always help each other."

Expanded version:

David and Lami are truly remarkable individuals.

They have a special bond that is based on mutual respect and a willingness to assist one another.

No matter what challenges come their way, they are always there for each other.

David is known for his kind heart and Lami for her intelligence.

Together, they make a powerful team.

They inspire those around them with their positive attitude and their ability to overcome obstacles.

Hvala Davidu i Lamiji :)

This is just a simple example, and you can adjust it according to the actual content of your original article. If you provide the original article, I can give you a more accurate and detailed expansion.