A Quote by David Mamet

You know, young actors say all the time, 'Should I use my own life experience?' And my response is, 'What choice do you have?' — © David Mamet
You know, young actors say all the time, 'Should I use my own life experience?' And my response is, 'What choice do you have?'
I always say that life is not easy for anybody. People hear about the young actors who have a rough life, but there are plenty of other kids who aren't actors who have a rough time, too, and I don't know if the ratio is any different.
I should say that feminism gave me permission to deal with my own emotional life and put it up front in certain ways, or use film as a way to examine, at that time, my own heterosexual experience. Lives of Performers was the beginning of that kind of investigation. But also, the film was influenced by the aesthetics and structures of experimental film as that was taking place at the same time. Hollis Frampton was a big influence on me at that time.
All actors do that. Should do that and do that. For the most part. I say all actors. I'm exaggerating, but you know who does and who doesn't. Vince is a wonderful young actor who knows his work and did a beautiful job on this film.
When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.
They say that art should stand the test of time. Life lasts a limited amount of time. Mountains and trees and earth will outlive human beings, but we don't know if they will be here always. Art does outlast the life span of its maker. Art should communicate to an increasing circle of strangers-people who do not know the artist, but come to know the work, and through the work, come to know something about the humanity of the artist that rings with their own humanity.
I believe young people from working families should have access to debt-free education because I know from my own experience that a high-school degree is not always enough, and a higher education can change a life.
My favorite actors are actors who are enigmatic and mysterious and never make the obvious choice in terms of the projects they do or who they work with or their craft. But I think that the less I know about an actor, the more chance I have of allowing their own persona to kind of slip away so I can get completely lost in the character they're playing, and the more that people think they know about your personal life, the more difficult it becomes to preserve that.
I think there couldn't be a more perfect time with the state of the world than to come together and share an experience - especially an entertainment experience like This Is Us - to say, "You're different, and I'm different, but we all agree that life should be lived. You should be happy, and we're all deserving of joy."
Even very recently, the elders could say: 'You know, I have been young and you never have been old.' But today's young people can reply: 'You never have been young in the world I am young in, and you never can be.' ... the older generation will never see repeated in the lives of young people their own unprecedented experience of sequentially emerging change. This break between generations is wholly new: it is planetary and universal.
The money we spend on education should follow the choice of the parents, not the choice of educrats, bureaucrats, politicians, who, unfortunately, have been manipulating this process in their own career interests, not in the interests of our young people.
Economic life should be definancialised. We should learn not to use markets as storehouses of value: they do not harbour the certainties that normal citizens require. Citizens should experience anxiety about their own businesses (which they control), not their investments (which they do not control).
This question of love begins and ends with the willingness to be welcoming to one's own experience as a loving action towards oneself. It may be dark, it may be light, it may be joyous, it may be sorrowful, but it's your experience, and therefore, your life. As we have that kind of loving response towards our own life, then life itself in terms of the outside world, begins to feel different.
Any proposals for the future, while they should use to the full the experience gathered in the past, should not be restricted by consideration of sectional interests established in the obtaining of that experience. Now, when the war is abolishing landmarks of every kind, is the opportunity for using experience in a clear field. A revolutionary moment in the world's history is a time for revolutions, not for patching.
Stress is a choice. Do you buy that? Some people have a hard time with the idea. Yes, bad things happen: The economy sours, our business struggles, the stock market tumbles, jobs are lost, people around us don't follow through, deadlines are missed, projects fail, good people leave. Life is full of these. But still, stress is a choice because whatever the 'trigger event,' we always choose our own response. We choose to react angrily. We choose to stuff our emotions and keep quiet. We choose to worry. Stress is a choice.
Actors don't need a lot of talk beyond the first few sentences. They may say they don't draw on their own life, but all actors do.
I'm just more attracted to actors. I like their choice to be artists - that's ballsy. And a guy who has such access to his emotional life is sexy. Or maybe because lots of the actors I know are so broken. I don't think I'm compatible with anybody I've dated. Maybe I'm so attracted to actors because I'm not ready for the 'settled down' thing yet.
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