On the left, Mr. Mamet is accused of having ulterior motives for his political shift.
And, being a contrarian and a dramatist, Mr. Mamet doubtless relishes the attention for his heresy.
Back-lot big shots, take note: Mamet has you in his sightlines, and he has lethal aim.
The writer David Mamet (who shares script credit with Hilary Henkin) contributes ticklishly precise colloquial dialogue.
Before he moved to California, Mr. Mamet had never met a self-described conservative or read one's writings.
But spend five minutes with Mr. Mamet and you realize that coy can only last so long.
For Mamet, the movies aren't just a business but a culture, and therefore a way of thinking.
It's a coming home for Mr. Mamet: He founded the company with his friend, the actor William H.
Is it a coincidence that this play is arriving at the same time as Mr. Mamet's public conservatism?
Mr. Mamet is directing and he looks the part in a scarf, black beret and round yellow-framed glasses.
This urban cop thriller, written and directed by David Mamet, is a genre picture with delusions of grandeur.
In David Mamet's satirical play "Speed-the-Plow, " a couple of Hollywood executive types discuss the nature of their work.
And, most sobering, Mr. Mamet writes in "The Secret Knowledge, " there are no perfect solutions to inequality, only trade-offs.
What gives the book an added subtext is knowing that Mamet participates in the same system he so reviles.
Each could make its own Mamet book, and some of them already have.
The plot is ridiculous, but Mamet dramatizes this gamy material with tremendous solemnity.
Among the best (and funniest) essays in the book are the ones Mamet devotes to that particularly loathsome species, the producer.
In 1995, Allen collaborated with May and David Mamet on Death Defying Acts, three one-act comedies which ran for nearly a year.
Unlike screenwriter-in-exile Joe Eszterhas, whose recent book contains a cocktail party's worth of hearsay and salaciousness, Mamet refuses to kiss and tell.
As a metaphor for Hollywood, a giant lizard seems apt, but Mamet is perhaps being sarcastic about the Bambi side of the equation.
Mamet's advice for surviving in this rank swamp is equally brutal.
By far the biggest pleasure of reading Mamet is reading Mamet.
It's safe to say that Mamet's view of Hollywood hasn't mellowed.
Piercing the bubble of corporate Hollywood isn't the most original endeavor, but Mamet's trademark pugilistic style makes this exercise in industry deflation feel new and invigorating.
Certainly, limo dispatcher Sebastian Lazaro gives the Mamet play--which features Alan Alda, Liev Schreiber and Gordon Clapp, all of whom are up for Tonys--his own personal rave.
Finder's take on the sales rep's trade is as cynical as that portrayed in the movie Tin Men or in the David Mamet play Glengarry Glen Ross.
Eighteen years after James Foley's film adaptation of David Mamet's play "Glengarry Glen Ross, " hit screens, the oft-quoted diatribe delivered by Alec Baldwin's character, Blake, still resonates.
In Glengarry Glen Ross (ranked seventh) and Tin Men (number nine), David Mamet and Barry Levinson, respectively, discovered drama in the desperation and chicanery of salesmen on commission.
"The very vacuousness of these films is reassuring, " Mamet explains.
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