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Calling on his unique perspective as playwright, screenwriter, and director of his own critically acclaimed movies, House of Games and Things Change, David Mamet illuminates how a film comes to be. He looks at every aspect of directing—from script to cutting room—to show the many tasks directors undertake in reaching their prime objective: presenting a story that will be understood by the audience and has the power to be both surprising and inevitable at the same time.
Based on a series of classes Mamet taught at Columbia University's film school, On Directing Film will be enjoyed not only by students but by anyone interested in an overview of the craft of filmmaking.
- Sales Rank: #18441 in Books
- Brand: Penguin Books
- Published on: 1992-01-01
- Released on: 1992-01-01
- Original language: English
- Number of items: 1
- Dimensions: 7.70" h x .20" w x 5.00" l, .24 pounds
- Binding: Paperback
- 128 pages
- Great product!
Amazon.com Review
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.
Review
"Passion, clarity, commitment, intelligence—just what one would expect from Mamet."
—Sidney Lumet
Most helpful customer reviews
44 of 48 people found the following review helpful.
rigid, but important
By Jonathan LeMond
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.
80 of 96 people found the following review helpful.
"It's a good thing the people in Hollywood have no souls..."
By J. Ott
"...so they don't have to suffer through the lives they lead."
Mamet is always Mamet. Even when talking about directing-- after having directed only two films, HOUSE OF GAMES and THINGS CHANGE. Never heard of 'em, you say? Yes, this book is taken from a series of lectures he gave at Columbia film school in 1990. Since then, Mamet has directed Steve Martin not to be funny (THE SPANISH PRISONER) and Gene Hackman not to be cool (HEIST) as well as other actors not to "inflect."
Most people, like me, love Mamet's writing but find his directing stilted and wooden. This book explains why. Written half as rant and half as Socratic dialogue, Mamet lays out his film theory with second-rate Sergei Eisenstein (I think he means Kuleshov) and third-rate Bruno Bettelheim (who wrote about fairy tales, not film). The result is a mixed bag, not too informative about directing, but always entertaining.
If you want to know why telling a story on film is like telling a dirty joke, this is your book. If you'd like to read how to construct a movie about a farmer who has to sell a pig, or a student who wants to "get a retraction," this is your book. If you want to know why "[t]he less the hero is described to us, the better off we are," this is your book. It's slim, it reads fast, and it's easier to understand than THE THREE USES FOR A KNIFE. If you want a book about directing by a real director, I recommend Sidney Lumet's MAKING MOVIES.
14 of 15 people found the following review helpful.
Buy this book. It's worth it.
By Grady Bretton
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.
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