There are some rather questionable takes on the significance of acting and the various styles within it. However, this piece offers a simplified and structural perspective on writing and directing that I truly needed to hear. It's so wonderful to have these reminders that my future career isn't always solely about talent, money, and luck. Acting is a complex art form, and different styles bring unique flavors to the table. While some may question its importance, it cannot be denied that great acting can elevate a production to new heights. Similarly, writing and directing play crucial roles in bringing a story to life. A well-written script and a skillfully directed production can engage the audience and leave a lasting impact. It's important to remember that success in this field requires hard work, dedication, and a willingness to learn and grow. Talent, money, and luck may play a part, but they are not the only factors that determine success.

He's a bit of an edge lord, yet he offers simple and helpful insights into directing.

His approach might seem unorthodox at times, but there's a certain charm to it.

He doesn't follow the traditional rules blindly, instead, he experiments and takes risks.

This boldness often leads to unique and creative results.

His simple insights cut through the complexity of the directing process, making it easier for others to understand.

Whether it's about working with actors, choosing the right shots, or creating a certain atmosphere, his tips are practical and useful.

Despite his edgy persona, he is always willing to share his knowledge and help others improve their directing skills.

His passion for the craft shines through in his words and actions, inspiring those around him to strive for excellence.

In a world where conformity often reigns supreme, his unwavering commitment to being himself and his art makes him a refreshing and valuable voice in the field of directing.

Included in his "A Profession of Faith", this book, with so much influence from Bresson, Eisenstein, and the physical actions of Stanislavski behind it, is a compilation of Mamet's classes in a seminar on direction. It is as direct and frank as it is illuminating when it comes to organizing what it means to direct a scene and create a system of action creation.

It offers valuable insights and practical guidance for those interested in the art of direction. Mamet's teachings in this book are presented in a clear and accessible manner, making it suitable for both beginners and experienced directors.

By exploring the concepts of scene organization and action creation, the book helps readers understand the fundamental principles that underlie successful filmmaking or theater directing. It provides a framework for approaching the creative process and offers practical tips and techniques for bringing a story to life on the screen or stage.

\\"The task of a director is to tell stories through the juxtaposition of neutral images\\".

It is a very interesting book by the established author Mamet. The book is prototype as it is in the form of a dialogue with the students of a film directing department of a university where he gave a lecture. It puts you in the position of the director and makes you think about what plans you should draw and makes you think a little about what a director generally does in his profession. In the book, through dialogue with the students, he analyzes how he would draw two scenes of a movie. The first one with a student and his teacher and the second one with a farmer who is trying to sell one of his lambs.

It is an interesting book and for the first time I read something related to cinema.

While I have an insatiable appetite for reading the works of my favorite performers and creators, I discovered that this particular piece is more tailored towards a serious student of the art of directing. Mamet does disclose that this relatively thin volume is founded on lectures and conversations with students in an advanced film studies course at Columbia.

However, for the average person, there is an excessive amount of technical content, which makes it less than fully engaging or even revealing about Mamet as an individual.

The technical details might be of great value to those who are deeply immersed in the study of directing, but for the casual reader, they can be overwhelming and detract from the overall enjoyment and understanding of the text.

Perhaps a more accessible approach could have been taken to make this work more widely appealing and to provide a more comprehensive look at Mamet's thoughts and ideas beyond the realm of technical filmmaking.

One part at a time. The boat has to look like a boat; the sail doesn't have to look like a boat. Make each part do its job, and the original purpose of the totality will be achieved—as if by magic. Make the beats serve the scene, and the scene will be done; make the scenes, in the same way, the building blocks of the film, and the film will be done. Don’t make the beat do the service of the whole, don’t try to reiterate the play in the scene.

In The Uses of Enchantment, Bruno Bettelheim says of fairy tales the same thing Alfred Hitchcock said about thrillers: that the less the hero of the play is inflected, identified, and characterized, the more we will endow him with our own internal meaning—the more we will identify with him—which is to say the more we will be assured that we are that hero.

The process we are going through in this room is the exploration of the dynamic between the moment and the objective. It is this dynamic that, in this discussion, in film, in the theater, gives both the moment and the entirety strength—in the beautiful drama, each moment serves the purpose of the superobjective, and each moment is beautiful in itself.

This passage emphasizes the importance of focusing on individual parts and moments. Just as a boat's components work together to achieve its purpose, in creative works like film and theater, each beat and scene should contribute to the overall objective. The idea that a less defined hero allows the audience to project their own meanings and identify more strongly is also an interesting concept. Additionally, the exploration of the dynamic between the moment and the objective is crucial for creating a powerful and beautiful drama. By understanding and harnessing this dynamic, artists can create works that are both engaging and meaningful.

David Mamet vividly recounts his engaging exchanges with students during a course he conducted on script writing and directing.

His central and thought-provoking argument is that a film is essentially a sequence of shots that are not necessarily intrinsically related to each other. It is rather the artful juxtaposition of these shots in time that ingeniously creates the story.

For instance, consider a simple sequence: a shot of a watch ticking, which is then followed by a shot of a man sweating, and finally a shot of him sitting on a bench. This combination of shots can powerfully convey to the audience that he is waiting and experiencing stress.

The crucial job of the director, therefore, is to meticulously plan in advance which specific shots he requires in order to effectively tell the story. This careful planning ensures that the sequence of shots works in harmony to create a captivating and meaningful cinematic experience for the viewers.

By understanding this concept, students can gain a deeper appreciation for the art of filmmaking and the role that shot selection and sequencing play in bringing a story to life on the big screen.

I'm not entirely certain that I wholeheartedly agree with every single thing that David Mamet has to say.

To be honest, the style of his films isn't exactly my personal favorite.

However, I do have a great deal of appreciation for the way he goes about explaining his creative process.

The chapters that involve class discussions are truly beneficial.

They assist in analyzing the story beats and demonstrate how a sequence of simple images can communicate something that is far more intricate and complex.

It is definitely worth taking the time to read this work just to gain a deeper understanding of montage editing.

This knowledge will enable you to recognize the techniques of montage editing when you watch movies in the future.

It can enhance your viewing experience and allow you to appreciate the artistry and craftsmanship that goes into creating a great film.

So, despite not being a die-hard fan of Mamet's films, I still believe that his insights and explanations are valuable and worth exploring.

I devoured this book. Well, not in the literal sense. But truly, I deeply resonated with Mamet's style of directing as well as his teaching style. He is extremely to-the-point. There is no nonsense. He cuts out all the unnecessary. It was sort of like learning about a directing diet. There perhaps could be a better way, but in the end, you achieve the desired result. Of course, I'm a bit OCD (maybe a whole lot of OCD), so I have to be cautious not to act on Mamet's instruction impulsively. However, it was a refreshingly original perspective on directing that focuses on what you require and what you observe. Which, after all, is a significant part (if not almost all of the parts) of what makes a great movie. And, the book itself is concise and charming. Just like his directing style. That's an added bonus.

Disclaimer: I don't think I've seen a Mamet film. So, even though I relished his book, I have no clue if his movies are any good. But talking about them as if they are is half the battle.

People have been attempting for centuries to utilize drama as a means to transform people's lives, to exert influence, to offer comments, and to express themselves. However, it simply doesn't function in that way. It would be wonderful if it could serve those purposes, but unfortunately, it doesn't. The sole thing that the dramatic form is proficient at is narrating a story.

I have no idea on what planet this individual is residing, but it's surely not Earth. I have an affinity for Mamet, and I appreciate his film House of Games. Nevertheless, I dissent from almost everything he articulates in this book, particularly his contempt for any film that doesn't conform to his rather restricted and simplistic perception of what a film ought to be. He contends that films should be as uncomplicated and straightforward as feasible, and anything beyond that is an act of narcissism that audiences will promptly reject. Additionally, he makes broad and blatantly incorrect generalizations about Hollywood, stating that "Contemporary American films are almost universally sloppy, trivial, and obscene." Let me spare you the time spent on reading this: His guidance on directing essentially amounts to "Do as little as possible and don't heed what anyone else tells you."

I randomly picked this book at the bookshop last week.

I had no clue who David Mamet was, and I have no intention of getting into filmmaking either. In fact, I hardly ever take videos with my phone.

But it seemed quite approachable for a lay reader, so I thought, why not?

This turned out to be an interesting read. I now know a little about filmmaking (at least the way David does it).

Even for a novice like me, I found some of the advice highly debatable, perhaps even dubious. He seems to suggest that actors don't need to understand their characters and that acting is all about moment-to-moment action.

I'm not so sure about that. I prefer an actor who is motivated, but that's just my personal opinion.

Some of the advice was really good and applicable to life as well as film. Keep it simple, focus on what the protagonist wants, learn your material and technique as much as possible.

This will help you unlock your subconscious, and in some ways, it's about luck and focusing on the beat. A nail doesn't have to look like a house; it just needs to look and function like a nail.

Most of the book is in dialogue format, with David brainstorming with his students at Columbia Film School where he gives some lectures.

(He slams film schools as useless at one point in the prose section, which is kind of meta.) I really enjoyed the discussions, especially since they seemed very basic, right at my reading level.

David clearly has a low opinion of contemporary films, directors, actors, producers, schools, and the whole industry.

A "no one does anything right anymore" attitude runs throughout the book, but for some reason, I was able to ignore it without getting annoyed.

I have no idea how the filmmaking methods he discusses compare to others, and I don't really care or even feel curious about it. I was just happy to learn one way to do it.

I enjoyed the reading experience, although it can be a bit repetitive considering how short the book is. I'll definitely have to watch one of his movies soon.

It took me a whole month to read a 100-page book.

At first, I thought it would be a breeze, but as I delved into the pages, I realized it wasn't as simple as I had anticipated.

The story was engaging, yet it required my full attention and concentration.

I found myself getting lost in the words, imagining the scenes and characters in my mind.

Although it took me longer than expected, I'm glad I took the time to read it.

It was okay. Probably would have had more of an influence on me if I actually finished it while at school.

However, I may revisit some of the ideas in my mind when writing my comics.

The book has inspired me to think differently and has given me new perspectives on certain topics.

I'm excited to see how these ideas will translate into my own work.

Maybe one day, I'll create a comic that will have the same impact on others as this book had on me.