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According to David Mamet, a film director must, above all things, think visually. Most of this instructive and funny book is written in dialogue form and based on film classes Mamet taught at Columbia University. He encourages his students to tell their stories not with words, but through the juxtaposition of uninflected images. The best films, Mamet argues, are composed of simple shots. The great filmmaker understands that the burden of cinematic storytelling lies less in the individual shot than in the collective meaning that shots convey when they are edited together. Mamet borrows many of his ideas about directing, writing, and acting from Russian masters such as Konstantin Stanislavsky, Sergei M. Eisenstein, and Vsevelod Pudovkin, but he presents his material in so delightful and lively a fashion that he revitalizes it for the contemporary reader.
From Library Journal
Noted playwright, screenwriter, and director Mamet offers his views on film directing taken, some in transcript form, from lectures and classes at Columbia. With only two films under his belt, Mamet is an odd choice to publish his opinions here, and his ideas are unsurprising. Although presumably being paid by Columbia, Mamet "suspects" film schools are "useless." Citing his heroes Eisenstein (story via cuts) and Hitchcock (pre-planning), he advises shooting scenes simply in the "least interesting way" possible and cutting everything extraneous to the story. He suggests reading in myth and psychology and watching a lot of animated cartoons. Refreshingly untheoretical, particularly regarding acting technique, this is fitfully interesting stuff, but a bit of an ego trip, too.
- David Bartholomew, NYPL
Copyright 1991 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
- David Bartholomew, NYPL
Copyright 1991 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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Format:Taschenbuch
After reading screenplay books for years -- the likes of Syd Field, McKee, Howard, Hunter, etc. -- Mamet is a refreshing change. I realized how the other books, for all intents and purposes, were analyses of scripts, avoiding or skirting the issues of method and process. In other words, it's not hard to look at a huge box office and critically-acclaimed hit (Chinatown being the consensus favorite) and explain what makes it so good. We all know it's good. We've seen the movie. We've read the script. We're all in awe. And we all know the elements. But the actual process of writing, of formulating a story visually, of actually creating instead of merely analyzing, seems to be an afterthough to these folks. I mean, in some way, you've got to ask yourself why these fellas -- McKee, Field, and others -- have never actually written a thing! Mamet espouses a simplicity to the process of storytelling in film, beat by beat. It's a bit repetitive and sterile, as is the man himself. I don't agree with him on everything, and neither will you. He contradicts himself all the time and seems to take delight in his own presence, but he is a great craftsman, and anyone looking to tell stories visually would be mistaken to think this book unimportant or trivial. A must read for aspiring filmmakers, especially those who write.
Format:Taschenbuch
I have found this book to be of great use. I have highlighted much of the text and have been assimilating it since it came out in hardcover. Technology is evolving toward consumer movie making and this book can serve as a point of departure for anyone with a video camera and a desire to tell stories but no pressing desire to become a part of "the industry". His technique is admittedly rigid but is simple to understand. When one honestly and patiently applies the technique in order to conceive a story outline, the results--since the unconscious is employed instead of the ego--can be quite enchanting. This book aims toward a more poetic cinema. I highly recommend it.
Format:Taschenbuch
The truth is that David Mamet directs film as no one else does. His book should not be compared with standard, film-school texts. He has a different approach, and one that I find to be more rudimentary than most. After reading, I felt that Mamet genuinely took me into the "basics" of filmmaking. He certainly marches to his own beat.
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A Big Wow
It's not an easy read maybe because Mamet is not a teacher but a writer. But this booklet was pure gold for me. Mamet takes a stand for Eisenstein's theory of montage. Lesen Sie weiter...
Am 22. November 1999 veröffentlicht
Do yourself a favor -- read it.
Mamet cuts through the crap. Essential reading for anyone who deals with story. Throw away Robert McFee's enormous, incomprehensible tome -- the slim paperback Directing Film... Lesen Sie weiter...
Am 13. Juli 1999 veröffentlicht
David Mamet: On Directing Film ( Clunkily )
David Mamet writing a book on how to direct film is like Vanilli setting himself up as a voice coach. Lesen Sie weiter...
Veröffentlicht am 4. Januar 1999 von AllOverWith
Shows how montage is used to get the maximum effect.
A summary of the russian filmakers beutiful theory of montage. It's low point is that he fails to contradict montage with other styles of cutting due to lack of experience as a... Lesen Sie weiter...
Veröffentlicht am 23. Dezember 1998 von basilemarco@hotmail.com
Mamet understands film, but not art
Despite his numerous interesting observations about the nature of film, Mamet seems to lack a central vision of art and all that is beautiful. Lesen Sie weiter...
Am 7. August 1998 veröffentlicht
An arrow in the quiver of any fine writer.
Mamet's plays have been known for exposing gender miscommunication(Oleanna, Sexual Perversity in Chicago), investigating what drives the common man (Glengarry Glen Ross, American... Lesen Sie weiter...
Am 5. April 1997 veröffentlicht
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