A Quote by Jeremy Piven

For the record, if you're not a stage actor, climbing onto Broadway and tackling something like David Mamet is not an easy thing to do. — © Jeremy Piven
For the record, if you're not a stage actor, climbing onto Broadway and tackling something like David Mamet is not an easy thing to do.
David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.
The conventional wisdom with David Mamet is, you do not change a word. And that agrees with me. If you want to change any of David's words, it's like wanting to change the iambic pentameter in Shakespeare - you should do something else.
David Mamet gives me great heart. When I ask myself, 'I don't know if I can do this again,' Mamet would say, 'Oh yes, you can.'
David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.
I learned a long time ago from David Mamet to wipe your feet at the door, get it out on stage and then go about your life.
The only thing I haven't done as an actor, other than Thai puppet theater somewhere, is act on a Broadway stage.
I so find Harold Pinter and David Mamet's writing to be exciting, and obviously there aren't that many female - at least with Mamet, there aren't that many good female roles. But I always thought it would be interesting to play one of the guy roles.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
As an actor, whether I'm playing Othello on stage or David Estes on 'Homeland,' that ability to give into your imagination is something that I enjoy.
I've never been an actor on Broadway, but it feels like you're on a stage when you play at Yankee Stadium. And that's the feeling I've always had.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
I didn't always mean to be an actor. I was carried onto the stage when I was two days old, but I never acted as a child. My parents were stage people.
I'll tell you what I think in general about people who want to make their Broadway debut that are not trained stage actors. Don't they know, Broadway ain't for sissies? It is a tough gig. You are responsible, physically, mentally, emotionally, for eight shows a week, at the top of your game. It's not easy.
David Mamet's writing is pretty spectacular, obviously. I like the honesty of it; I like how funny it is and how sad it is.
I consider myself a Jewish writer, like all my heroes: Tom Stoppard, David Mamet, Philip Roth, Arthur Miller, Woody Allen.
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