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
The study of acting consists in the main of getting out of one’s own way, and in learning to deal with uncertainty and being comfortable being uncomfortable.
Interpretation
Acting is about transcending personal boundaries and embracing discomfort to grow.
David Mamet's quote emphasizes that the essence of acting lies in overcoming personal barriers and learning to navigate uncertainty. It suggests that true growth as an actor, and perhaps in life, comes from stepping outside of one's comfort zone and embracing the challenges that arise in the pursuit of meaningful expression.
In practice
During an acting workshop, I shared this quote to inspire the students to embrace their fears and uncertainties.
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.
I would have to think about it for two or three months before I decided to do something which would have meaning. And it would have to be more than just an impression or pleasure. I would need an objective, a meaning. That is the only thing that could help me.
There's something inimical about the camera and song.
Painting is not for me either decorative amusement, or the plastic invention of felt reality; it must be every time: invention, discovery, revelation.
Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.
Of course I know that the twins are only words on a page, and I'm certainly not the sort of writer who talks to his characters or harbours any illusions about the creative process. But at the same time, I think it's juvenile and arrogant when literary writers compulsively remind their readers that the characters aren't real. People know that already. The challenge is to make an intelligent reader suspend disbelief, to seduce them into the reality of a narrative.
The art and science of memory is about developing the capacity to quickly create images that link disparate ideas. Creativity is the ability to form similar connections between disparate images and to create something new and hurl it into the future so it becomes a poem, or a building, or a dance, or a novel. Creativity is, in a sense, future memory.
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