David Mamet Quote

As a youth I enjoyed — indeed, like most of my contemporaries, revered — the agitprop plays of Brecht, and his indictments of Capitalism. It later occurred to me that his plays were copyrighted, and that he, like I, was living through the operations of that same free market. His protestations were not borne out by his actions, neither could they be. Why, then, did he profess Communism? Because it sold. The public’s endorsement of his plays kept him alive; as Marx was kept alive by the fortune Engels’s family had made selling furniture; as universities, established and funded by the Free Enterprise system — which is to say by the accrual of wealth — house, support, and coddle generations of the young in their dissertations on the evils of America.

David Mamet

As a youth I enjoyed — indeed, like most of my contemporaries, revered — the agitprop plays of Brecht, and his indictments of Capitalism. It later occurred to me that his plays were copyrighted, and that he, like I, was living through the operations of that same free market. His protestations were not borne out by his actions, neither could they be. Why, then, did he profess Communism? Because it sold. The public’s endorsement of his plays kept him alive; as Marx was kept alive by the fortune Engels’s family had made selling furniture; as universities, established and funded by the Free Enterprise system — which is to say by the accrual of wealth — house, support, and coddle generations of the young in their dissertations on the evils of America.

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About David Mamet

David Alan Mamet (; born November 30, 1947) is an American playwright, filmmaker, and author. He won a Pulitzer Prize and received Tony nominations for his plays Glengarry Glen Ross (1984) and Speed-the-Plow (1988). He first gained critical acclaim for a trio of off-Broadway 1970s plays: The Duck Variations, Sexual Perversity in Chicago, and American Buffalo. His plays Race and The Penitent, respectively, opened on Broadway in 2009 and previewed off-Broadway in 2017.
Feature films that Mamet both wrote and directed include House of Games (1987), Homicide (1991), The Spanish Prisoner (1997), and his biggest commercial success, Heist (2001). His screenwriting credits include The Postman Always Rings Twice (1981), The Verdict (1982), The Untouchables (1987), Hoffa (1992), Wag the Dog (1997), and Hannibal (2001). Mamet himself wrote the screenplay for the 1992 adaptation of Glengarry Glen Ross, and wrote and directed the 1994 adaptation of his play Oleanna (1992). He created and produced the CBS series The Unit (2006–2009).
Mamet's books include: On Directing Film (1991), a commentary and dialogue about film-making; The Old Religion (1997), a novel about the lynching of Leo Frank; Five Cities of Refuge: Weekly Reflections on Genesis, Exodus, Leviticus, Numbers and Deuteronomy (2004), a Torah commentary with Rabbi Lawrence Kushner; The Wicked Son (2006), a study of Jewish self-hatred and antisemitism; Bambi vs. Godzilla, a commentary on the movie business; The Secret Knowledge: On the Dismantling of American Culture (2011), a commentary on cultural and political issues; Three War Stories (2013), a trio of novellas about the physical and psychological effects of war; and Everywhere an Oink Oink: An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood (2023), an autobiographical account of his experiences in Hollywood.