Product Description

From the Academy Award-nominated screenwriter and playwright: an exhilaratingly subversive inside look at Hollywood from a filmmaker who’s always played by his own rules.

Who really reads the scripts at the film studios? How is a screenplay like a personals ad? Why are there so many producers listed in movie credits? And what on earth do those producers do anyway? Refreshingly unafraid to offend, Mamet provides hilarious, surprising, and refreshingly forthright answers to these and other questions about every aspect of filmmaking from concept to script to screen. A bracing, no-holds-barred examination of the strange contradictions of Tinseltown, Bambi vs. Godzilla dissects the movies with Mamet’s signature style and wit.

Product Details

• Amazon Sales Rank: #330727 in Books
• Published on: 2008-02-12
• Released on: 2008-02-12
• Original language: English
• Number of items: 1
• Binding: Paperback
• 272 pages

Features

• ISBN13: 9781400034444
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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From Publishers Weekly
Mamet's a veteran screenwriter and director (currently producing The Unit for CBS), but that doesn't mean he has any great love for the industry—his Hollywood is the stereotypically corrupt and cutthroat world where screenwriters willingly change their stories to accommodate every stupid suggestion from producers, who are blatantly lining their own pockets, while stars bicker over who has the bigger trailer. But his stories are entertaining even when they're unsurprising, and though loosely organized, a few broad themes emerge. He expounds at length, for example, upon his well-known penchant for straightforward storytelling, where drama boils down to "the creation and deferment of hope," and every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?" At other times, he's happy simply to explain why he thinks Laurence Olivier was a terrible film actor or to test out a theory that the early film industry owes its development to Eastern European Jews with Asperger's syndrome. As usual with Mamet, each word is precisely chosen for maximum effect, and nearly all hit their mark. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
By anyone's measure, Mamet is a prodigious writer, somehow finding time for the occasional essay amid his ever-expanding repertoire of plays, screenplays, and novels. His latest essay collection focuses on the movie industry, and his stance is that of someone who has seen Hollywood's facelift scars and whose advice to eager novices just off the bus can be summarized thusly: "Go back." This might appear self-serving, for a man who has found success in a cutthroat industry may want to discourage potential competition. But Mamet's cynicism comes off as genuinely hard-won. He outlines the Hollywood caste system with a precision that reflects the bitter experience of the person at the bottom--the screenwriter. Scorn, betrayal, and subjugation--this is the lot of the writer, who, according to Mamet, is resented by nearly everyone in the business. Miraculously, though, great drama is occasionally realized on the screen, and Mamet offers writers some guidelines on how to approach it. However, be warned that those seeking a screenwriting method will be greatly disappointed--but, then again, that is perhaps ideal training for the job. Jerry Eberle
Copyright © American Library Association. All rights reserved

Review
"Sharp, savvy. . . . Icily hilarious. . . . Mr. Mamet writes with insight, idiosyncrasy and a Godzillian imperviousness to opposition." --Janet Maslin, "The New York Times"
"Winningly pugnacious. . . . ["Bambi vs. Godzilla"] is funny and angry and intemperate and passionate enough to tell the truth about movies." --"San Francisco Chronicle"
"This is a book infused with love - the sweet, helpless love Mamet has for film, and the communal process that makes it."
--"Los Angeles Times"
"Playful . . . deft. . . . Mamet the dramatist has developed a career as a prolific philosophical essayist." --"Chicago Sun-Times"

Customer Reviews

Art Versus $$$
David Mamet is a playwright who won the Pulitzer Prize for "Glengarry Glen Ross" and an Oscar nominated screenwriter for "The Verdict" and "Wag The Dog." It is no wonder that, as a wordsmith, "Bambi vs. Godzilla" is a delight to read. This book is a series of opinated essays by a Hollywood insider who attacks the industry for favoring profits over art. There are times that the author overwrites a simple thought into a complex paragraph that leaves one shaking their head. It is still an entertaining read.

Why So Sloppy?
David Mamet is a celebrated playwright, a renowned screenwriter and, for the last twenty-plus years, a director of his own scripts. He's taken the accumulated experience of his quarter-century in the film industry and distilled it into "Bambi vs. Godzilla."

Given that Mamet is a Pulitzer Prize winning playwright, known for his coruscating dialogue, and given also the fact that this book has a tone that can be rightly called conversational, you're surprised to find so much of the prose to be so sloppy - slovenly, even. Count the number of times he uses variations on the word "opine," for instance. Or consider the following doozy: "I myself don't respond to the Georgian in film and will addend a condign comment attributed to Harry Cohn." That's just bad writing. Or consider his use of the term "films noirs" on page 145, which is both illiterate and bad writing.

In addition, Mamet is more often than not sloppy with his facts. His confuses two different shots in Godfather II (on pages 94-95), and claims on page 110 that Don Ameche was "the world's biggest star in the early talkie era" which is just nonsense. He also claims that "The Birth of a Nation... helped endorse the rebirth of the Ku Klux Klan" which, again, is both bad writing and historically inaccurate (change "endorse" to "inspire" and it's at least debatable, but both D.W. Griffith and Thomas W. Dixon went out of their way to repudiate the revitalized Klan). He disputes the claim of Robert Evans that the best films seem to come from the most troubled sets, when anyone with the slightest knowledge of film history (and who knows how such films as "Gone With the Wind," "Some Like It Hot," "The Godfather" and "Jaws," among countless other examples, were made) knows that Evans is just stating a fact.

There are some good points here (Mamet has an interesting take on Hitchcock's "Shadow of a Doubt," for instance, and I was amused by his heterodox opinion of Laurence Olivier's acting), but all in all this is a sloppy, thrown-together book that could have been a lot better.

David Mamet Takes on the Movie Business
David Mamet knows how to write - for the stage, for the screen and for reading audiences. His grasp of how to construct dialogue is second to none. "Glengarry Glen Ross," won the Pulitzer Prize - and deservedly so. It is brilliant! I can't remember how many times I have seen "The Spanish Prisoner," and been astonished with each viewing at the way in which Mamet constructed the story. His play, "The Boston Marriage," contains two hours of delicious verbal ripostes and counter-thrusts. I happened to catch an evening performance of the play at the Hasty Pudding Theater in Cambridge on a night when Mamet himself was in the audience.

Mamet's latest literary project is his commentary on the current state of the movie industry: "Bambi vs. Godzilla - On the Nature, Purpose, and Practice of the Movie Business."

Steve Martin's blurb on the dust jacket of the book, with tongue firmly planted in cheek, sums up beautifully the impact that this book will have among Hollywood insiders: "David Mamet is supremely talented. He is a gifted writer and observer of society and its characters. I'm sure he will be able to find work somewhere, somehow, just no longer in the movie business."

Mamet takes the reader behind the scenes of how a movie gets written, shot, edited, marketed and distributed. He gives his unvarnished personal opinion about actors, directors, producers and films he has appreciated - and those he disdains. The book contains a wonderful Appendix that is a compendium of thumbnail descriptions of each of the movies he mentions in the body of the book.

In the course of commenting about the status of the movie industry as business and as art, he offers some illuminating insights into the state of our society:

"The absence of a historical and universally acknowledged authority to which one may pledge fealty and against which one may rebel creates factionalism: the right moves toward fascism, the left toward chaos. Democracy - in extremis - seems capable of devolving to either tyranny or civil war, and America, maddened by unimaginable prosperity and safety, incomprehensibly powerful, and bereft of threats, splits down the middle on the issue of definition.

Is the good person one who will not tolerate a president's lies about sex or one who will not tolerate a president's lies about war? (Pages 33-34)

Touché! Mamet does not pull his punches, and both ends of the political spectrum are fair game for his analysis. The same goes for his deconstruction of the movie business. I walked away from reading this book with a deeper appreciation for the best films and film makers - and a better understanding of what makes/made them so good. The fact that Mamet is - to employ a technical sociological term - a participant/observer in moviedom, adds weight, texture, immediacy and intrigue to his commentary about the industry that both feeds him and frustrates him.

We are blessed to have Mamet - still in his prime - and still shining the light of his observation and analysis upon dark corners of our world that need to be brought out of the shadows.

Enjoy!

Al