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?)
