They say you can't study Kabbalah until you are at least 40 years old. You know why? You have to have experienced at least one generation making the same mistakes as the previous one.
David MametRead
It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience.
Interpretation
Creating a compelling play requires careful plotting, as audiences are perceptive and quick to see through shallow narratives.
David Mamet emphasizes the challenges of crafting a well-structured play, highlighting that effective storytelling requires careful consideration and creativity. He points out that if a writer can easily conceive a plot, the audience can do the same, which implies that originality and depth are essential to engage an audience meaningfully.
In practice
In a drama workshop when discussing techniques for creating engaging plots.
They say you can't study Kabbalah until you are at least 40 years old. You know why? You have to have experienced at least one generation making the same mistakes as the previous one.
My alma mater is the Chicago Public Library. I got what little educational foundation I got in the third-floor reading room, under the tutelage of a Coca-Cola sign.
You know, young actors say all the time, 'Should I use my own life experience?' And my response is, 'What choice do you have?'
It's hard for a Jew of my generation, an American Jew, who is philo-Zionistic, not to romanticize Israel.
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.
Every reiteration of the idea that nothing matters debases the human spirit.
The history of jazz lets us know that this period in our history is not the only period we've come through together. If we truly understood the history of our national arts, we'd know that we have mutual aspirations, a shared history, in good times and bad.
The art of a people is a true mirror to their minds.
Sometimes my mistakes turn into interesting music because I do things that aren't supposed to be done.
A dancer must listen to his body and pay homage to it. Behind the movement lies this terrible, driving passion, this necessity. I won't settle for anything less.
I don't think the goal is, 'How big a star did you ever become?' I think the goal is, 'Were you able to express yourself?' And if you're able to say yes, in any field, you've won. If you paint, write, do mosaics, knit - if it's solving that part of your brain saying, 'I need to do this,' you've won.
People often ask me how long it takes me to write a play, and I tell them 'all of my life.'
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