David Mamet
David Mamet
David Alan Mametis an American playwright, essayist, screenwriter, and film director. As a playwright, Mamet has won a Pulitzer Prize and received Tony nominations for Glengarry Glen Rossand Speed-the-Plow. Mamet first gained acclaim for a trio of off-Broadway plays in 1976, The Duck Variations, Sexual Perversity in Chicago, and American Buffalo. His play Race opened on Broadway on December 6, 2009...
NationalityAmerican
ProfessionPlaywright
Date of Birth30 November 1947
CityChicago, IL
CountryUnited States of America
Conservatives believe in smaller government and in the power of the electorate. So I think that we're less likely to try to use a dramatic forum to warp people's political views.
I like Bach. I like Randy Newman.
My idea of perfect happiness is a healthy family, peace between nations, and all the critics die.
Always tell the truth - it's the easiest thing to remember.
A liberal pretending to be a conservative? That's like a straight person pretending to be gay to get greater acceptance.
The job of the artist, is to say, wait a second, everything that we have thought is wrong. Let's re-examine it.
If you're neurotic and you think, I'm not where I deserve to be or my mother didn't love me, or blah, blah, blah, that lie, that neurotic vision, takes over your life and you're plagued by it 'til it's cleansed. In a play, at the end of the play, the lie is revealed. [T]he better the play is, the more surprising and inevitable the lie is, as Aristotle told us. Plays are about lies.
You can't write about history without writing about politics at some point. History is about movements of people. 'What is criminality and what is government' is a theme that runs through every history.
My dad was a labour lawyer, and the ideas that I grew up with - bad management, bad capitalism, robber barons - when I applied this to my own life, I saw that we are all on both sides of the coin.
Every reiteration of the idea that nothing matters debases the human spirit.
A play is basically a long, formalistic polemic. You can write it without the poetry, and if you do, you may have a pretty good play. We know this because we see plays in translation. Not many people speak Norwegian or Danish or whatever guys like Ibsen spoke, or Russian - yet we understand Chekhov and the others.
When I started out I was a failed actor.
The liberals in my neighbourhood wouldn't give away Brentwood to the Palestinians, but they want to give away Tel Aviv.
Our job, as writers is to do our jobs.