In Bambi vs. Godzilla, David Mamet, the award-winning playwright and screenwriter, gives us an exhilaratingly subversive inside look at Hollywood from the. From the Academy Award-nominated screenwriter and playwright: an exhilaratingly subversive inside look at Hollywood from a filmmaker who’s always . Pulitzer Prize-winning playwright and Hollywood screenwriter David Mamet talks about his new book, Bambi vs. Godzilla: On the Nature.
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Want to Read saving…. Want to Read Currently Reading Read. Refresh and try again. Open Preview See a Problem? Godzilla by David Mamet. Thanks for telling us about the problem. Return to Book Page. Preview — Bambi vs. GodzillaDavid Mamet, the award-winning playwright and screenwriter, gives us an exhilaratingly subversive inside look at Hollywood from the perspective of a filmmaker who has always played the game his own way.
Who really reads the scripts at the film studios? How is a screenplay like a personals ad? Whose opinion matters when revising a screenplay? Why are t In Bambi vs. Why are there so many producers listed in movie credits? And what the hell do those producers do, anyway? Refreshingly unafraid to offend, Mamet provides hilarious, surprising, and bracingly forthright answers to these and other questions about virtually every aspect of filmmaking, from concept to script to screen. He tells us who his favorite actors and what his favorite movies are, who he thinks is the most perfect actor to grace the screen, and who he thinks should never have appeared there.
Demigods and sacred cows of the movie business—beware! But for the rest of us, Mamet speaking truth to Hollywood makes for searingly enjoyable reading. Hardcoverpages.
In Book, Mamet Is Bambi to Hollywood’s Godzilla : NPR
Bmbi February 6th by Pantheon first published January 1st To see what your friends thought of this book, please sign up. To ask other readers questions about Bambi vs. Godzillaplease sign up. Lists with This Book. Oct 24, Mike rated it really liked it Recommends it for: Godzilla is the name of a much-beloved bqmbi short from many, many years ago.
In the context of this review, however, it is a book by acclaimed author, playwright, and filmmaker, David Mamet.
In this witty at times hilarious reflection on the movie business, the author discusses everything about the film industry that he and we little gossips that we are want to know. As far as how the business operates and how it Bambi vs.
Bambi vs. Godzilla by David Mamet | : Books
As far as how the business operates and how it kills those that work in the field, it is fairly commonplace. But what lifts this from the mean are two things: Many inclusions are just the name as it is used to illustrate a point. Others are a brief in-text synopsis to add emphasis to a point or thought. And others are a lengthy dissection of a movie, a scene, or even just a shot.
It is all fascinating.
You do not need to be a film historian to enjoy this book. Likewise you do not need to be someone of his political, religious, or any other persuasion. The ideas and quality of the writing will suffice.
Bambi vs. Godzilla
Young or old it will read well. On Saturday morning I read the first pages. Fast-forward to Saturday bsmbi after grilling and eating a feast for my parents and other family members. We retire to the parlour and what should be gambi the old-time movie channel, but The Lady Eve. Godizlla even though we missed the first few minutes, we were all immediately hooked. In those three acts we saw a masterful story with great acting and great writing.
Oct 20, Michelle rated it it was amazing. The heart of the matter. The man behind the curtain. The process of filmmaking condensed down to its very basic elements with a wry sense of humor written just for the vw masochistic job in the industry: If you like your coffee black, your toast dry and your yogurt plain, this is for you.
Expect mysteries to be solved and dreams to dissolve. In a good way. Apr 30, John L rated it liked it. Is it possible to engross the audience when the end of the quest is already known? Mark Twain wrote of U. Grant’s personal memoirs that they were so well written as to make one godzolla who was going to win the Civil War.
The book itself was a tough read. He seems to try to make his points in such an obtuse manner that it’s difficult to understand his point. He asks the question, what does a producer do.
But never fully answers it. I like his brief description of a scene from t A good line: I like his brief description of a scene from the movie, “Contact”, one that I’ve always regarded as being unique. She reaches forward, and the shot of her face becomes a shot of a medicine cabinet. That is, it is as if the entire shot were, somehow, a reflection in the medicine cabinet mirror.
Jul 18, Linda Robinson rated it liked it. While bambbi critics, this book is a critique.
While writing that dialogue and ammet are not as important as the scenes in a movie that in fact, silent movies were perhaps better he uses many and big mmaet in his sentences.
The ax that he suggests one uses in the cutting room clearly wasn’t used in the book. He who rides, decides. There be gold among the rocks in this book, but gold shared from other sources: We discover the famous best-actor-ever that Mamet thinks was meh. We are confused as to whether Mamet considers himself Bambi or Godzilla, but we have confirmed what we already knew about Hollywood hierarchy in general – the closer to the top you are, the less you care about good art; and writers are so much dust beneath everyone’s feet.
It’s a lot more fun. Aug 11, Kate Harvie rated mamwt did not like it. What was I thinking. Not only is it written in a semi-stream of consciousness style, he doesn’t name names and specify the films of which he’s critical.
Godzila that was a boon to my Netflix. Jan 07, Nathan Albright rated it it was amazing Shelves: I got this book from the library and I have to say that it was a funny book to read. Just its title alone–a knowing reference to one of the more famous short films of the late ‘s–gives an idea of the sort of humorous writing that this book will contain. And, truth be told, this book is clearly written to an insider audience.
Anyone who reads this book will care a lot about the movie business and will likely be a writer, as it seems that writers are those who read books for the most part I got this book from the library and I have to say that it was a funny book to read. Anyone who reads this book will care a lot about the movie business and will likely be a writer, as it seems that writers are those who read books for the most part .
At any rate, this book has all the hallmarks of a book written for insiders, with inside jokes as well as a sort of openness that comes when a writer expects to write for a sympathetic audience. To be sure, this is not a book written with critics in mind, who the author seems not to like, but rather is written for those who could consider themselves fans or at least people who are somewhat idealistic if also a bit cynical about how the movie industry works.
In terms of its contents and structure, the book has a laid back and somewhat rambling but also deeply entertaining feel to it. The book begins with a discussion about the good people of Hollywood, which in the minds of the author mostly means the writers and crew members who toil to create art that is not particularly appreciated by those who make the most money. The author also talks candidly about Jews and show business and discusses his ideas on population genetics and the like.
After this comes a few chapters on the repressive mechanism that tends to encourage bad films and an improper response to film on the part of many godzolla and their sycophants. A few entertaining and practical chapters on screenwriting follow, including the way that screenwriters tend to be, in the author’s rather maket language, raped and accused of theft by many producers, as well as godzipla important questions for any screenwriter to ask about his or her script: Who wants what from whom?
What happens if they don’t get it? Some chapters on learning technique in filming by experience follow, as well as some basic principles about dramatic distance and setting up the enjoyment of delayed gratification and the compact between filmmakers and the audience. After this come some rather humorous discussion on genre, including the cop movie, film noir, religious films, and the author’s thoughts on sequels.
At this point the author gets into the swing of passing judgment on critics and actors, some of it positive and some of it negative, before closing on his views of the crimes and misdemeanors of the film industry, particularly as it relates to manners and the purpose of the Oscars, with some lovely closing material including an annotated list of films referenced in the book.
At a bit more than pages this is certainly an enjoyable book to read. As someone who is both a prolific critic of books as well as a prolific mamey of original material including quite a few playsI am not sure the extent to which Hodzilla am considered as a member of one category of reader or another. I did not agree with everything the author said, and certainly we have very different political and moral worldviews to be sure, but at the same time I felt this author to be someone who defended the artist and thought it important that those bs make films maintain a level of respect for the audience and what the audience wants from a film.