A Quote by David Mamet

The work of the director is the work of constructing the shot list from the script. — © David Mamet
The work of the director is the work of constructing the shot list from the script.
I'm more of a seat of my pants, heat of the moment kind of person, which lends itself well to hosting and acting, but not necessarily going, "Oh, what is my shot list? That's right, I needed to work on a shot list."
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
Not every director does this, but I did: I made a list of every shot you're going to set up for every scene in the script.
Getting the right script that will work at the BO and relate to the audience is what matters. You also need a great director to bring the script to the screen in a form you envisioned it to be.
In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.
I choose my work very carefully, always for the script and the director, and I don't think that's going to change. My work is like a house. It's built on very strong poles.
I structure the scripts and work on them on films and work on scenes with writers and but I haven't written a script myself, I really respect what they do and I'm fortunate I get to work with people that I really enjoy working with and we all kind of spitball and work together on these things, but I haven't written a script yet.
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part's not that great.
I don't work for the commercial success of the film. I work to satisfy my producers who give me the money. I work to satisfy the director who has written a script for me. Of course, I have to satisfy the actor in me, but I want to satisfy them first.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
You work on a play or movie, you have the whole script, so you're constructing a performance based on the bible that you have. In TV, you don't, so to actually invest in that and let that be the exciting part is terrifying and certainly leaves room for mistakes, looking back.
Sometimes it's the script or an opportunity to work with an incredible director.
Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity.
I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.
I would love to work with Salman. We have a great tuning so if we work together, it will be great fun. But till the time we don't get a good script, a script that excites both of us, we can't work together.
I will continue to work with newbies as long as the script and the director are good.
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