A Quote by T. R. Knight
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.
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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.
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.
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.'
That's such a big part of film scoring that people don't realize. There's a portion of film scoring that's writing the music, but a lot of it is how do you get along with the guy you're working with, how do you interpret what he wants? It's so subjective, you know? Your version of sad is probably different than my version of sad. It's my job to figure out what your vision of sad looks like.
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.
I would probably do anything with David Mamet. He's so great. I just love his writing.
David Mamet, Tim Kazurinsky, and Denise DeClue, who adapted [ About Last Night]. Between the three of them... I mean, it's always down to the writing. You're only as good as your writing.
I want to be funny. When I first started writing, I didn't find my stories funny, but people kept saying they were. It kind of worried me; these are some pretty disturbing and sad pieces. Why do people think they're funny?
I decided I like that mode. It's how I think - it's my voice. I like being funny and sad at the same time, or funny and disturbing at the same time. It's my natural voice.
I'm doing this play right now, the new David Mamet play. It's called 'Race,' and it's very interesting how people really leave the theater filled with the desire to talk about the play and the issues and the characters, and how they're all navigating their personal views around race.
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.
I have that sort of Curb Your Enthusiasm, Larry David/George Costanza thing where people are like, "How did you feel writing such an unlikable character?" And I'm like, "It's me! I based him on myself!" There are certain moments where they do feel like unwittingly personal attacks.
All of my plays have puzzled some people, and I'm happy to say delighted a few, but a lot of people have just not seen how quite to look at them. And this film... if you like my writing, you'll like this film. If you don't, you won't like the film. It's pretty faithful to - it's a pretty uncompromising presentation of my way of seeing things, I suppose.
I consider myself a Jewish writer, like all my heroes: Tom Stoppard, David Mamet, Philip Roth, Arthur Miller, Woody Allen.
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.
My husband is a graduate of two Ivy League universities - with a degree in Classics! - and he sounds like a David Mamet character when I hear him on a business call.
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