My first acting class was taught by a little known playwright, David Mamet, who then cast me in my first play, opposite John Malkovich.— John Mahoney
Most Powerful Mamet quotations
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.
[David] Mamet is another hypocrite. His idea of Black man is a pimp who abuses women, [Edmond], yet his play Oleanna  ends with a White professor slapping an uppity feminist, at least the version I saw at San Francisco's ACT.
I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.
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 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.
In theatre you can't ad lib, so you want to pick really good material, like David Mamet or Shakespeare or whatever. You want to be really careful about what you do. But in the movies, you do have more wiggle-room. You do have more opportunities to improvise. It's fun to improvise, but I still think it's better to have a great script.
I've studied Stanislavsky, and Mamet taught Stanislavsky, and I studied with Sanford Meisner. But the part of the method that I think is the most fruitful is the method of physical actions. It all comes down to your objective: Nothing else counts except what you want. How you feel will take care of itself.
Bill Pullman is older than Aaron Eckhart - although I was older too - and the age difference changes the play. My perspective on those issues had changed a lot. Without going into nerdy details about that play, there was something that still stuck with me. I still had the same joy in that dialogue and David Mamet's rhythm in terms of his writing. I felt like there was still something to explore.
I've never seen a movie director who was happier to be directing a movie than Dave [Mamet]. His sets, everyone who's ever been involved with one of them will tell you of the funnest, funniest sets you can be on.
There's nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I've never seen a movie director who was happier to be directing a movie than Dave.
[David] Mamet's the writer I admire most but he's way off from when he tries to talk about what the moral appeal of liberal thought is. His heart is not in it.
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 did about 10-12 national commercials and then got one line parts in things like 'Curb Your Enthusiasm' and the show 'The Unit.' Got a little part in the movie 'Redbelt' by David Mamet and kept slowly grinding up and then started getting bigger parts in independents and getting noticed by Liz Meriwether.
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.