“IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.”
David Mamet (?)
My friend Carolynn sent me an email yesterday in regard to an alleged David Mamet memo. I had not see it before, but whether he wrote the memo or not, I think it is going down as instant legendary material that writers will be quoting for years. There was a TV show called The Unit which ran between 2006-2009 and David Mamet was the executive producer.
The memo said to have been written by Mamet was sent to staff writers of the show to, how do I say it, encourage them to write more dramatically. I have read enough Mamet to say that the encouragement has his not so subtle touch. (Heck, this whole memo even appears in all-caps, with plenty of bold type.) Mamet knows how to provoke, but he also understands drama. And he wants is writers to understand drama.
I was so fired up after reading this memo that I cranked out ten pages of a script and I haven’t done that much writing in one day in over a year. If this memo turns out to be apocryphal. I don’t care. Don’t tell me. I want to believe it’s Mamet speaking from on high. I don’t even want Mamet to say he did or didn’t write it. Preserve the mystery, the drama.
You can read the whole memo that Seth Abramovitch calls Davd Mamet’s Master Class Memo to the Writers of The Unit at Movieline.com. Because I know you have mountains to climb and pages to write, I’ve pulled a few helpful gems for you.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON’T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE, TO FAILURE – THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE DRAMATIC. IT MUST START BECAUSE THE HERO HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING “BOB AND SUE DISCUSS…” IS NOT DESCRIBING A DRAMATIC SCENE.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION, INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM – TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF “IS IT DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
IF THE ANSWER IS “NO” WRITE IT AGAIN OR THROW IT OUT. IF YOU’VE GOT ANY QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05
Here are a few other posts that I’ve written about Mamet in the past: