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
My tendency as an actor was to correct people, was to say, 'What if we tried it this way, what about if we tried that way?' That's terrible habit for an actor, but that's a good habit for director. So I became a director.
Interpretation
The quote highlights the difference between an actor's instinct to correct and a director's role to guide creatively.
David Mamet reflects on his career shift from acting to directing, acknowledging that while his tendency to suggest changes was not ideal for an actor, it proved valuable in a directorial role. This insight emphasizes the importance of adaptability and the right mindset for different creative roles in the arts.
In practice
In a speech at a film festival, you could use this quote to inspire budding directors to embrace their unique approaches.
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.
Mastering music is more than learning technical skills. Practicing is about quality, not quantity. Some days I practice for hours; other days it will be just a few minutes.
I had the feeling that focusing on objects and telling a story through them would make my protagonists different from those in Western novels - more real, more quintessentially of Istanbul.
Picasso is what is going to happen and what is happening; he is posterity and archaic time, the distant ancestor and our next-door neighbor. Speed permits him to be two places at once, to belong to all the centuries without letting go of the here and now.
I remember saying to myself those things are very, very important to hear, but there must be another way to say them so that they will truly be heard. I mean, that's what art is. Art is about being provocative. Art is also about beauty. And if you leave the latter out, the former doesn't matter.
I was the shadow of the waxwing slain By the false azure in the windowpane; I was the smudge of ashen fluff -and I Lived on, flew on, in the reflected sky. And from the inside, too, I'd duplicate Myself, my lamp, an apple on a plate: Uncurtaining the night, I'd let dark glass Hang all the furniture above the grass, And how delightful when a fall of snow Covered my glimpse of lawn and reached up so As to make chair and bed exactly stand Upon that snow, out in that crystal land!
My goal as a writer is more to comfort than to disturb.
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