I’m a big fan of THE UNIT, the TV series developed by David Mamet from Eric L. Haney’s memoir, INSIDE DELTA FORCE. (I’ll have some comments on that book when I get around to reading it; I have a copy sitting here in my studio.) I also enjoyed the film SPARTAN, which was written and directed by Mamet. His screenplay for the movie version of THE UNTOUCHABLES I consider a mixed bag – some really good lines, but also some things that just don’t make sense. That’s about the extent of my acquaintance with Mamet’s work. I was interested enough, though, to pick up his new book about the movie business.
Although BAMBI VS. GODZILLA touches on a lot of different aspects of filmmaking, it’s primarily about writing screenplays, since Mamet believes, rightly so, that everything else in the process starts there. His comments about story structure and editing are excellent and apply not only to writing scripts but also to any other sort of fiction. I found myself thinking about my own work and seeing ways I could improve it as I read this book. Mamet’s advice on how to handle bad reviews – ignore them – is familiar but also effective, if the writer can manage to do it. Easier said than done, of course. I also liked the fact that he’s open to finding good work wherever it may be, not just in the usual places. He mentions several films he finds perfect: THE GODFATHER, A PLACE IN THE SUN, DODSWORTH . . . and GALAXY QUEST. Now, I happen to believe that GALAXY QUEST is a fine film, too, but I wouldn’t have thought to call it perfect. When you think about it, though, it pretty much accomplishes what it sets out to accomplish, and that’s generally the standard to which I hold books and movies.
Some of what Mamet writes in this book edges over into psychobabble (either that or I’m just too dense to follow what he’s saying, which is always a possibility), but overall I think BAMBI VS. GODZILLA is a fine book. You could read it just as an entertaining look at the inner workings of the movie industry, but I think it has a lot to say to writers, too. And it makes me want to watch more of Mamet’s movies. (You don’t think that just might have been one of the book’s goals, now do you?)
Although BAMBI VS. GODZILLA touches on a lot of different aspects of filmmaking, it’s primarily about writing screenplays, since Mamet believes, rightly so, that everything else in the process starts there. His comments about story structure and editing are excellent and apply not only to writing scripts but also to any other sort of fiction. I found myself thinking about my own work and seeing ways I could improve it as I read this book. Mamet’s advice on how to handle bad reviews – ignore them – is familiar but also effective, if the writer can manage to do it. Easier said than done, of course. I also liked the fact that he’s open to finding good work wherever it may be, not just in the usual places. He mentions several films he finds perfect: THE GODFATHER, A PLACE IN THE SUN, DODSWORTH . . . and GALAXY QUEST. Now, I happen to believe that GALAXY QUEST is a fine film, too, but I wouldn’t have thought to call it perfect. When you think about it, though, it pretty much accomplishes what it sets out to accomplish, and that’s generally the standard to which I hold books and movies.
Some of what Mamet writes in this book edges over into psychobabble (either that or I’m just too dense to follow what he’s saying, which is always a possibility), but overall I think BAMBI VS. GODZILLA is a fine book. You could read it just as an entertaining look at the inner workings of the movie industry, but I think it has a lot to say to writers, too. And it makes me want to watch more of Mamet’s movies. (You don’t think that just might have been one of the book’s goals, now do you?)
4 comments:
You make a couple of admirable asides, James, that I hope won't be overlooked in what is a review of a book on filmmaking.
One is that Mamet's comments about story structure and editing apply universally. I have a book published more than 25 years ago on my shelves. The topic is "how to write scripts for theatre, TV & film". I picked up many hints from it on how to write comic-book scripts and text fiction.
The other point is the one reviewers frequently overlook but was drummed into me as a youngster in school lessons on literary criticism: Any work should be judged on the basis of whether it achieves what its author set out to achieve. In writing critical essays of our own, we were required to apply this standard, and back our conclusions with appropriate references and quotes.
Are kids still taught this stuff today? From what I often see in the press and on the net, I wonder.
More generally, sometimes in a social setting, we hear scathing dismissals like, "Oh, it's just a little western," when the novel in the observer's hands was always intended to be a short entertainment in that genre. Do these people stop to ponder the skills required to produce such work effectively?
I'm a great admirer of Mamet and of Galaxy Quest, so I was doubly impressed with this book. Even when Mamet occasionally lost me with his train of thought. For another Mamet film that accomplishes exactly what it sets out to do, I'd recommend Heist. A terrific, tough-minded ... well, heist film. I also enjoyed the Haney book, and hope you will, too.
Keith -- I'm not sure what kids are taught today. But I know that writing any kind of book isn't easy, and that's why I try not to look down on any particular genre. Some are more to my taste than others, but as I used to tell my students when I taught writing, "It's all just words on paper." If those words tell me a good story, that's all I care about.
Vince -- In looking over Mamet's credits, HEIST struck me as a film I might like, so given your recommendation of it I'll definitely seek it out. As a regular reader of your blog I know that our tastes coincide more often than not.
I've liked all the Mamet films I've seen, especially the one with Bill Murray as the crook - what's it called, THE SPANISH PRISONER? It's perfect. His scripts for other directors - THE UNTOUCHABLES, HOFFA - are below his own directions.
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