David Mamet

Hey, listen, if you had Stormy Daniels on, would you say, where do you get your ideas?

Hey, listen, if you had Stormy Daniels on, would you say, where do you get your ideas?

Hey, listen, if you had Stormy Daniels on, would you say, where do you get your ideas?

Well, it is very hard. Shia, protect it. I'll tell you. I wrote this play a long time ago called American Buffalo. And it was a series of sketches about these thieves I was hanging out with playing poker. And they were really good. And I did it off Broadway. A bunch of sketches. And a guy called Ulu Grossbard, who was a great director. You should see his movie Straight Time.

Well, it is very hard. Shia, protect it. I'll tell you. I wrote this play a long time ago called American Buffalo. And it was a series of sketches about these thieves I was hanging out with playing poker. And they were really good. And I did it off Broadway. A bunch of sketches. And a guy called Ulu Grossbard, who was a great director. You should see his movie Straight Time.

Well, it is very hard. Shia, protect it. I'll tell you. I wrote this play a long time ago called American Buffalo. And it was a series of sketches about these thieves I was hanging out with playing poker. And they were really good. And I did it off Broadway. A bunch of sketches. And a guy called Ulu Grossbard, who was a great director. You should see his movie Straight Time.

Ulu Grossbard comes to me and says, if you can figure out the plot. I'll put it on Broadway. So I went from being an out-of-work cab driver to I had to sit down and figure out how to write a plot, which is very difficult. And then he put it on Broadway. So I said, oh, I get it. I know what keeps the asses in the seats, a plot, which means making the audience wonder what happens next.

Ulu Grossbard comes to me and says, if you can figure out the plot. I'll put it on Broadway. So I went from being an out-of-work cab driver to I had to sit down and figure out how to write a plot, which is very difficult. And then he put it on Broadway. So I said, oh, I get it. I know what keeps the asses in the seats, a plot, which means making the audience wonder what happens next.

Ulu Grossbard comes to me and says, if you can figure out the plot. I'll put it on Broadway. So I went from being an out-of-work cab driver to I had to sit down and figure out how to write a plot, which is very difficult. And then he put it on Broadway. So I said, oh, I get it. I know what keeps the asses in the seats, a plot, which means making the audience wonder what happens next.

That's a plot. If you can write a plot, the dialogue doesn't have to be good, which we know because we see films in translation. We want to know what happens next. So it's very hard to write a plot because it's an equation and the mind always wants to come up with the easiest thing, right?

That's a plot. If you can write a plot, the dialogue doesn't have to be good, which we know because we see films in translation. We want to know what happens next. So it's very hard to write a plot because it's an equation and the mind always wants to come up with the easiest thing, right?

That's a plot. If you can write a plot, the dialogue doesn't have to be good, which we know because we see films in translation. We want to know what happens next. So it's very hard to write a plot because it's an equation and the mind always wants to come up with the easiest thing, right?

But the easiest thing is probably not the best thing because if you can beat yourself to the punchline, the audience can beat you to the punchline. So in comedy, what you got to do is you got to beat the audience to the punchline. Give them enough to wonder what happens next, right? A penguin and a rhinoceros go into a whorehouse. Yeah, they want to know what happens next.

But the easiest thing is probably not the best thing because if you can beat yourself to the punchline, the audience can beat you to the punchline. So in comedy, what you got to do is you got to beat the audience to the punchline. Give them enough to wonder what happens next, right? A penguin and a rhinoceros go into a whorehouse. Yeah, they want to know what happens next.

But the easiest thing is probably not the best thing because if you can beat yourself to the punchline, the audience can beat you to the punchline. So in comedy, what you got to do is you got to beat the audience to the punchline. Give them enough to wonder what happens next, right? A penguin and a rhinoceros go into a whorehouse. Yeah, they want to know what happens next.

Yeah, I do really want to know. Of course.

Yeah, I do really want to know. Of course.

Yeah, I do really want to know. Of course.

The penguin fucks the nun and the rhinoceros eats them both.

The penguin fucks the nun and the rhinoceros eats them both.