From a Pulitzer Prize-winning playwright comes invaluable insights and practical instructions on the art of film directing. Mamet looks at every aspect of directing--from script to cutting room--and draws from a wide variety of sources to make his points.

This comprehensive volume contains nine of the most important, most indispensable plays of the modern theater. What Harold Clurman has done in this seminal collection is to create for us a portrait of the progress and turmoil of the twentieth century.

In David Mamet's latest play, a male college instructor and his female student sit down to discuss her grades and in a terrifyingly short time become the participants in a modern reprise of the Inquisition. Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the meechanisms of power, censorship, and abuse.

What makes good drama? And why does drama matter in an age that is awash in information and entertainment? With bracing directness and aphoristic grace, the Pulitzer Prize-winning playwright of Glengarry Glen Ross delivers a thrillingly original treatise on his art.
To David Mamet, human beings are drama-creating animals who impose narrative structures on everything from today's weather to next year's elections. Mamet distinguishes true drama from its false variants, unravels the infamous "Second-Act Problem," amd considers the mysterious persistence of the soliloquy. Three Uses of the Knife is an inspired guide for any playwright or theatergoer that doubles as a trenchant work of moral and aesthetic philosophy.

憑著獨特的編劇技巧及數部劇情片的實務經驗，DavidMamet在本書說 明了電影是如何構組而成的。他從不同的面向----自劇本發想到剪接----揭示 導演在面對眾多「功課」時，內心最重要的主旨：呈現一個觀眾可以了解且永 遠具驚奇和必然等特質的故事。 *書後附錄詳細介紹DavidMamet及他三部導演作品.

纽约大学电影硕士，现任教于辅仁大学，并替《联合报》撰写影评。

Invent nothing, deny nothing, speak up, stand up, stay out of school. With these words, one of our most brilliantly iconoclastic playwrights takes on the art of profession of acting, in a book that is as shocking as it is practical, as witty as it is instructive, and as irreverent as it is inspiring.
Acting schools, “interpretation,” “sense memory,” “The Method”—David Mamet takes a jackhammer to the idols of contemporary acting, while revealing the true heroism and nobility of the craft. He shows actors how to undertake auditions and rehearsals, deal with agents and directors, engage audiences, and stay faithful to the script, while rejecting the temptations that seduce so many of their colleagues. Bracing in its clarity, exhilarating in its common sense, True and False is invaluable.

NEW YORK TIMES BESTSELLER!

"Savagery appeased can only grow. Once you give in to it, it must escalate, like a fire searching for air."

The man who won the Pulitzer Prize for GLENGARRY GLEN ROSS, who wrote the classic films THE VERDICT and WAG THE DOG sounds his alarm about the Visigoths at our gates.

In RECESSIONAL he calls out, skewers, mocks, and, most importantly, dissects the virus of conformity which is now an existential threat to the West.

A broad-ranging journey through history, the Bible, and literature, RECESSIONAL examines how politics and cultural attitudes about rebellion have shifted in the United States in the last generation. By screaming down freedom of thought and expression, Mamet explains, we kill invention and democracy - the foundations of security and growth.

A wickedly funny, wistful and wry appeal to the free-thinking citizen, RECESSIONAL is a vital warning that if we don't confront the cultural thuggery now, the commissars and their dupes will transform the Land of the Free into the dictatorship at which they aim.

In Bambi vs. Godzilla , David Mamet, the award-winning playwright and screenwriter, gives us an exhilaratingly subversive inside look at Hollywood from the perspective of a filmmaker who has always played the game his own way.

Who really reads the scripts at the film studios? How is a screenplay like a personals ad? Whose opinion matters when revising a screenplay? Why are there so many producers listed in movie credits? And what the hell do those producers do, anyway? Refreshingly unafraid to offend, Mamet provides hilarious, surprising, and bracingly forthright answers to these and other questions about virtually every aspect of filmmaking, from concept to script to screen.

He covers topics ranging from “How Scripts Got So Bad” to the oxymoron of “Manners in Hollywood.” He takes us step-by-step through some of his favorite movie stunts and directorial tricks, and demonstrates that it is craft and crew, not stars and producers, that make great films. He tells us who his favorite actors and what his favorite movies are, who he thinks is the most perfect actor to grace the screen, and who he thinks should never have appeared there.

Demigods and sacred cows of the movie business–beware! But for the rest of us, Mamet speaking truth to Hollywood makes for searingly enjoyable reading.

"My interest in politics began when I noticed that I acted differently than I spoke, that I had seen 'the government' commit sixty years of fairly unrelieved and catastrophic error nationally and internationally, that I not only hated every wasted hard-earned cent I spent in taxes, but the trauma and misery they produced..."

For the past thirty years, David Mamet has been a controversial and defining force in theater and film, championing the most cherished liberal values along the way. In some of the great movies and plays of our time, his characters have explored the ethics of the business world, embodied the struggles of the oppressed, and faced the flaws of the capitalist system.

But in recent years Mamet has had a change of heart. He realized that the so- called mainstream media outlets he relied on were irredeemably biased, peddling a hypocritical and deeply flawed worldview. In 2008 he wrote a hugely controversial op-ed for The Village Voice , "Why I Am No Longer a 'Brain- Dead Liberal,'" in which he methodically eviscerated liberal beliefs. Now he goes much deeper, employing his trademark intellectual force and vigor to take on all the key political and cultural issues of our times, from religion to political correctness to global warming. A sample:

The problems facing us, faced by all mankind engaged in Democracy, may seem complex, or indeed insolvable, and we, in despair, may revert to a state of wish fulfillment-a state of "belief" in the power of the various experts presenting themselves as a cure for our indecision. But this is a sort of Stockholm Syndrome. Here, the captives, unable to bear the anxiety occasioned by their powerlessness, suppress it by identifying with their captors.

This is the essence of Leftist thought. It is a devolution from reason to "belief," in an effort to stave off a feeling of powerlessness. And if government is Good, it is a logical elaboration that more government power is Better. But the opposite is apparent both to anyone who has ever had to deal with Government and, I think, to any dispassionate observer.

It is in sympathy with the first and in the hope of enlarging the second group that I have written this book.

Mamet pulls no punches in his art or in his politics. And as a former liberal who woke up, he will win over an entirely new audience of others who have grown irate over America's current direction.