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
A good film script should be able to do completely without dialogue.
Interpretation
A compelling film script can convey its story and emotions through visual storytelling rather than through spoken words.
David Mamet emphasizes the importance of visual storytelling in film, suggesting that a good script should rely more on imagery and direction than on dialogue. This notion highlighted the power of visuals to communicate emotions, themes, and narratives effectively without the need for verbal exchanges, allowing the audience to engage with the film on a deeper level.
In practice
This quote can be used in a film study class to illustrate the significance of visual storytelling.
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 deliberately disregarded the right angle and rationalist architecture designed with ruler and square to boldly enter the world of curves and straight lines offered by reinforced concrete... This deliberate protest arose from the environment in which I lived, with its white beaches, its huge mountains, its old baroque churches, and the beautiful suntanned women.
I don't write because there's an audience. I write because there is literature.
As a novelist, where do you go to tap into memories, and impressions, and sensations? It's usually, in my experience, your early life, before you started thinking of yourself as a writer, because somehow those experiences are unadulterated.
His friends said, "Why do you have that ugly thing hanging there?" and Bull said, "I like it because it's ugly." All his life was in that line.
Singing intimately is almost like thinking into a microphone, so it helps to have the song buried inside you.
They swayed about upon a rocking horse, And thought it Pegasus.
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