Who is David Mamet? See Net-worth, Quote, Awards, Fact, Wiki

David Mamet Wiki Biography

David Mamet was born on the 30th November 1947, in Chicago, Illinois USA, and is an Oscar Award-nominated screenwriter, playwright, producer and director, best known for such movies as “The Verdict” (1982), “The Untouchables” (1987), “Glengarry Glen Ross” (1992), and “Wag the Dog” (1997). Mamet’s career started in the mid- 1970s.

Have you ever wondered how rich David Mamet is, as of mid- 2017? According to authoritative sources, it has been estimated that Mamet’s net worth is as high as $20 million, an amount earned through his successful career as a screenwriter. In addition to writing, Mamet also works as a producer and director, which has improved his wealth too.

David Mamet Net Worth $20 Million

David Mamet was born to Jewish parents, Bernard Morris Mamet, an attorney, and Lenore June, a teacher. Mamet studied at the Francis W. Parker School and Goddard College in Plainfield, Vermont, and in downtime worked as a busboy in Chicago.

David founded the Atlantic Theater Company in the mid-‘70s, and his first off-Broadway plays came out in 1976 – “American Buffalo”, “Sexual Perversity in Chicago”, and “The Duck Variations”. In 1981, he wrote the script for the thriller called “The Postman Always Rings Twice” starring Jack Nicholson and Jessica Lange, and a year later received an Oscar Award nomination for Sidney Lumet’s “The Verdict”, a drama with Paul Newman in the lead role, which grossed over $55 million, and helped David to increase his net worth significantly.

In 1987, Mamet wrote the screenplay for Brian De Palma’s Oscar Award-winning drama “The Untouchables” (1987), the story about Al Capone and the FBI agent Eliot Ness, with Kevin Costner, Sean Connery and Robert De Niro starring. The same year, David directed and wrote the Golden Globe Award-nominated thriller called “House of Games”, and ended the decade with the comedy “We’re No Angels” (1989) starring Robert De Niro, Sean Penn and Demi Moore.

Mamet was quite busy in the ‘90s; he started with writing and directing the thriller “Homicide” (1991) with Joe Mantegna and William H. Macy, and then the Oscar Award-nominated “Glengarry Glen Ross” came out in 1992, about real estate agents and based on Mamet’s play for which he received a Pulitzer Prize in 1984, starring Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, and Kevin Spacey. In 1992, David wrote the script for Danny DeVito’s Oscar Award-nominated biography crime-drama “Hoffa” also starring Jack Nicholson, Danny DeVito and Armand Assante.

Over the next five years, Mamet was involved in several movies, the most notable being “The Edge” with Anthony Hopkins, Alec Baldwin and Elle Macpherson, “The Spanish Prisoner”, which he directed as well, and Barry Levinson’s Oscar Award-nominated comedy “Wag the Dog”, with Dustin Hoffman, Robert De Niro, and Anne Heche starring, and Mamet receiving an Oscar Award nomination for Best Writing – Screenplay Based on Material Previously Produced or Published. He ended the ‘90s with such movies as “Ronin” (1998) with Robert De Niro and Jean Reno, and wrote and directed “The Winslow Boy” (1999); his net worth was certainly on the rise!

In the early 2000s, Mamet directed and wrote the comedy called “State and Main” (2000) starring Philip Seymour Hoffman, William H. Macy, and Rebecca Pidgeon. His next screenplay was for Ridley Scott’s “Hannibal” (2001), with Anthony Hopkins. Julianne Moore and Gary Oldman, which helped him to improve his wealth since the film earned over $350 million worldwide.

David continued with writing and directing – the crime film “Heist” (2001) starring Gene Hackman, Rebecca Pidgeon and Danny DeVito, and then “Spartan” (2004) with Val Kilmer and William H. Macy. Mamet again teamed up with William H. Macy, Julia Stiles and Joe Mantegna in the thriller entitled “Edmond” (2005), based on his previous play. In 2006, he created a Primetime Emmy Award-nominated series “The Unit”, which aired for 69 episodes until 2009. David ended the 2000s with the sports-drama “Redbelt” (2008) starring Chiwetel Ejiofor, Tim Allen and Emily Mortimer.

Most recently, Mamet directed and wrote the Golden Globe Award-nominated biography “Phil Spector” (2013) starring Al Pacino and Helen Mirren, and wrote the screenplay for the comedy “About Last Night” (2014) with Kevin Hart, Michael Ealy and Regina Hall.

Regarding his personal life, David Mamet has two children with actress Lindsay Crouse, to whom he was married from 1977 to 1990. Since 1991, he has been married to singer-songwriter and actress Rebecca Pidgeon, and the pair has two children together.



Full Name David Mamet
Net Worth $20 Million
Date Of Birth November 30, 1947
Place Of Birth Chicago, Illinois, United States
Height 1.68 m
Profession American playwright
Education Goddard College, Francis W. Parker School
Nationality American
Spouse Rebecca Pidgeon (m. 1991), Lindsay Crouse (m. 1977–1990)
Children Zosia Mamet, Clara Mamet, Willa Mamet, Noah Mamet
Parents Bernard Morris Mamet, Lenore June Mamet
Siblings Tony Mamet, Lynn Mamet
IMDB http://www.imdb.com/name/nm0000519/
Awards Pulitzer Prize for Drama, Virgin Atlantic Best New Play, New York Drama Critics’ Circle Award for Best American Play, Obie Award for Best New American Play, Best Screenplay Award, London Film Critics Circle Award for Screenwriter of the Year, London Film Critics’ Circle Award for Film of the Year, W…
Nominations Tony Award for Best Play, Academy Award for Best Writing Adapted Screenplay, Primetime Emmy Award for Outstanding Miniseries or Movie, Primetime Emmy Award for Outstanding Directing for a Limited Series, Movie or Dramatic Special, Primetime Emmy Award for Outstanding Writing for a Limited Series, Mo…
Movies House of Games, The Spanish Prisoner, State and Main
TV Shows The Unit
Trademark
1 Great attention to realistic dialogue, often the actors in his films stutter or even leave a large portion of their lines unsaid.
2 Often casts his wife, Rebecca Pidgeon, in prominent roles in movies he directs. While he was married to Lindsay Crouse, the same was true for her.
3 His films feature bursts of fast moving, profane dialog
4 The telephone is often a key device or weapon in his works
5 Frequently makes use of William H. Macy, Alec Baldwin and Joe Mantegna, actors who also headlined his stage productions. Other regulars include ‘Ed O’Neill’, Lionel Mark Smith, Ricky Jay, Jonathan Katz and the late J.T. Walsh.
Quote
1 [on why he writes] It beats thinking.
2 [on the influence of Vikram Jayanti’s documentary, ‘The Agony and the Ecstasy of Phil Spector’ on his own later project for HBO] I see the documentary, and it’s a brilliant documentary. And you start out. In the first ten seconds you’re saying, ‘Oh, this guy’s a freak. He’s small. He’s wizened. He talks funny. His arms are shaky. He’s obviously a freak’. Three minutes later, you say, ‘Well, he says some interesting things’. A half an hour, you’re saying, ‘How could I be so prejudiced? The guy’s kind of brilliant’. And at the end of the documentary, you’re saying, ‘Wait a second. I came to this with such prejudice. Maybe the guy’s not guilty’.
3 In my experience, almost every financial interchange with Hollywood ends with an accusation by the corporation of theft. ‘You didn’t do what I wanted, you didn’t work hard enough, you intended to defraud me.’ These are the recurring plaints of industry. They may be translated as: You forgot to work for nothing.
4 Working as a screenwriter, I always thought that ‘Film is a collaborative business’ only constituted half of the actual phrase. From a screenwriter’s point-of-view, the correct rendering should be ‘Film is a collaborative business: bend over’.
5 There’s no such thing as character development; all there is is action.
6 Take away the director from the staged play and what do you get? Usually a diminution of strife, a shorter rehearsal period and a better production.
7 Before the US [2006] mid-term elections, my rabbi was taking a lot of flak. The congregation is exclusive-liberal, yet he is a self-described independent (read “conservative”) and he was driving the flock wild. Why? Because a) he never discussed politics; and b) he taught that the quality of political discourse must be addressed first; that Jewish law teaches that it is incumbent upon one to hear the other fellow out. ‘So I, like many of the liberal congregation, began – teeth grinding – to attempt to do so. And in doing so I recognised that I held two views of America. ‘One was of a state where everything was magically wrong and must be immediately corrected at any cost; and the other (the world in which I actually functioned day to day) was made up of people who were in the main reasonably trying to maximise their comfort by getting along with one another (in the workplace, the marketplace, the jury room, even the school meeting). ‘And I realised that the time had come for me to avow my participation in the country in which I chose to live – and that this country was not a schoolroom teaching values, but a marketplace.
8 I’d observed that lust, greed, envy, sloth and their pals are giving the world a good run for its money; but that nonetheless people in general seem to get from day to day; and that we in the United States get from day to day in rather wonderful and privileged circumstances. We are not and never have been the villains that some of the world and some of our citizens make us out to be, but a confection of normal (greedy, lustful, duplicitous, corrupt, inspired – in short, human) individuals living under a spectacularly effective compact called the constitution.
9 As a child of the 1960s, I accepted as an article of faith that government is corrupt, business is exploitable and people are generally good at heart. But these cherished precepts, I realised, had over the years become increasingly impracticable prejudices.
10 I have to admit that I don’t like Disneyland.
11 [when asked if he wished he had a different profession] Oh, all writers wish that. That’s why we become writers. We want to do something active but we can’t. Paul Johnson, in his “History of the 20th Century”, says all the great crimes are committed by intellectuals. He says intellectuals love power and we get tired of sitting on our asses.
12 Hollywood is capitalism at its best: opposing forces working it out, using tools of the marketplace. As such, it’s vastly messier than totalitarianism, but it kills a lot less people.
13 Hollywood is like cocaine. You cannot understand its attraction until you are doing it. And when you are doing it, you are insane.
14 Asperger’s syndrome helped make the movies. The symptoms of this developmental disorder include early precocity, a great ability to maintain masses of information, a lack of ability to mix with groups in age-appropriate aways, ignorance of or indifference to social norms, high intelligence, and difficulty with transitions married to a preternatural ability to concentrate on the minutiae of the task at hand. This sounds to me like a job description for a movie director.
15 Thank God Hollywood people don’t have souls so they don’t have to suffer through their lives.
16 We live in oppressive times. We have, as a nation, become our own thought police, but instead of calling the process by which we limit our expression of dissent and wonder “censorship”, we call it “concern for commercial viability.”
17 [when asked to comment on adapting his own work for the screen] It’s like raping your children to teach them about sex.
18 A good film script should be able to do completely without dialogue.
19 The poker player learns that sometimes both science and common sense are wrong; that the bumblebee can fly; that, perhaps, one should never trust an expert; that there are more things in heaven and earth than are dreamt of by those with an academic bent.
20 We Americans have always considered Hollywood, at best, a sinkhole of depraved venality. And, of course, it is. It is not a protective monastery of aesthetic truth. It is a place where everything is incredibly expensive.
21 In a world we find terrifying, we ratify that which doesn’t threaten us.
22 There’s no such thing as talent; you just have to work hard enough.
23 I’ve always been more comfortable sinking while clutching a good theory than swimming with an ugly fact.
24 [to acting students at Atlantic Theater Company]Invent nothing, deny nothing.
Fact
1 Interviewed by Frank Rich at the Lighthouse International Theater on Feb. 12th in NYC. [January 2007]
2 Although he intended it as a deconstruction of ruthless business practices and the nature of capitalism, many businesses have used the film ‘Glengarry Glen Ross’ as a training method and motivational tool for employees.
3 Based his play ‘Glengarry Glen Ross’ on his own time working in a Real Estate office.
4 As a teenager Mamet was a regular on “Kumzitz,” a local Chicago WLS-TV show for Jewish youth. His recurring character was a soda jerk.
5 Ex-son-in-law of Russel Crouse.
6 Won the 1984 Pulitzer Prize for Drama for the play “Glengarry Glen Ross” and was nominated for the 1995 Pulitzer Prize for Drama for the play “The Cryptogram”.
7 His play, “Glengarry Glen Ross”, was awarded the 1984 Joseph Jefferson Award for Play Production at the Goodman Theatre in Chicago, Illinois.
8 Occasional co-lyricist for his wife, singer Rebecca Pidgeon.
9 He wanted to be an actor as a young man but his attempts failed so he turned to writing and directing in order to stay in the industry.
10 Often either declines credit or uses a pseudonym if he is called upon only as a script doctor, or some films he doesn’t direct. The only such film that credited him by name was Hannibal (2001).
11 Was twice nominated for Broadway’s Tony Award for Best Play: in 1984 for “Glengarry Glen Ross,” and in 1988 for “Speed-the-Plow.”.
12 Brother-in-law of Matthew Pidgeon.
13 Used to work as a waiter at Second City Theater in Chicago.
14 Eschews using a personal computer to write his screenplays and plays, preferring to use his old-fashioned typewriter.
15 His play “Boston Marriage” was performed at the Donmar Warehouse and New Ambassador’s Theatre in London and was nominated for a 2002 ‘Laurence Olivier’ Theatre Award for Best New Comedy of 2001.
16 Daughters with Lindsay Crouse: Zosia Mamet and Willa Mamet.
17 Two children with actress Rebecca Pidgeon: Clara Mamet and Noah Mamet.
18 Brother of Lynn Mamet.
19 Attended Goddard College, Plainfield, VT with William H. Macy and Jonathan Katz.
20 His stage work assayed in book entitled, “How Good is David Mamet, Anyway?” by critic John Heilpern, Dec. 1999.
21 Won the Pulitzer prize in Drama for “Glengary Glen Ross”.
22 Well known for the rhythmic nature of his dialogue, he actually uses a metronome during rehearsals to perfect the actors’ delivery of it.
23 Playwright/screenwriter

Writer

Title Year Status Character
About Last Night 2014 based upon “Sexual Perversity in Chicago” by
The Coin 2013/I Short short story by
Phil Spector 2013 TV Movie written by
Two Painters 2010 Short
Inside the Actor’s Workshop 2010 Video short written by
Our Valley 2010 Short
The Marquee 2010 Short
The Dog 2010 Short
Lost Masterpieces of Pornography 2010 Video short written by
The Unit TV Series creator – 68 episodes, 2006 – 2009 written by – 10 episodes, 2006 – 2009 writer – 1 episode, 2006
Redbelt 2008 written by
Edmond 2005 play / screenplay
Spartan 2004 written by
Heist 2001 written by
Hannibal 2001 screenplay
State and Main 2000 written by
Lakeboat 2000 play – uncredited / written by
The Winslow Boy 1999 screenplay
Lansky 1999 TV Movie written by
Ronin 1998 screenplay – as Richard Weisz
Wag the Dog 1997 screenplay
The Spanish Prisoner 1997 written by
The Edge 1997 written by
Dr. Katz, Professional Therapist 1997 TV Series additional material – 1 episode
American Buffalo 1996 play / screenplay
Texan 1994 TV Short written by
Oleanna 1994 play / screenplay
Vanya on 42nd Street 1994 play adaptation
A Life in the Theater 1993 TV Movie play / teleplay
Hoffa 1992 written by
Glengarry Glen Ross 1992 play / screenplay
The Water Engine 1992 TV Movie play / written by
Homicide 1991 written by
Performance 1991 TV Series 1 episode
We’re No Angels 1989 written by
The Play on One 1989 TV Series writer – 1 episode
Things Change 1988 written by
House of Games 1987 screenplay / story
The Untouchables 1987 written by
Hill Street Blues 1987 TV Series written by – 1 episode
About Last Night… 1986 play “Sexual Perversity in Chicago”
The Verdict 1982 screenplay
The Postman Always Rings Twice 1981 screenplay
A Life in the Theater 1979 TV Movie play

Producer

Title Year Status Character
Hoffa 1992 associate producer
Lip Service 1988 TV Movie producer
Phil Spector 2013 TV Movie executive producer
Disintegration Man 2012 Video short executive producer
The Unit 2006-2009 TV Series executive producer – 66 episodes
Lansky 1999 TV Movie executive producer
A Life in the Theater 1993 TV Movie executive producer

Director

Title Year Status Character
Phil Spector 2013 TV Movie
Two Painters 2010 Short
Inside the Actor’s Workshop 2010 Video short
Our Valley 2010 Short
The Marquee 2010 Short
Lost Masterpieces of Pornography 2010 Video short
The Unit 2006-2008 TV Series 4 episodes
Redbelt 2008
The Shield 2004 TV Series 1 episode
Spartan 2004
Heist 2001
Catastrophe 2000 Short
State and Main 2000
The Winslow Boy 1999
The Spanish Prisoner 1997
Ricky Jay and His 52 Assistants 1996 TV Movie
Oleanna 1994
Homicide 1991
Things Change 1988
House of Games 1987

Soundtrack

Title Year Status Character
Redbelt 2008 writer: “Voce Nao Me Ve”
State and Main 2000 lyrics: “The Song of the Old Mill”
Dr. Katz, Professional Therapist 1996 TV Series lyrics – 1 episode
Oleanna 1994 lyrics: “Long Ago And Far Away”, “Hail To The Men Of Merit”, “Brief College Days”

Actor

Title Year Status Character
Dr. Katz, Professional Therapist 1997 TV Series David
The Water Engine 1992 TV Movie Brown Haired Man
Black Widow 1987 Herb

Miscellaneous

Title Year Status Character
Macy About Mamet 1998 Video documentary short subject

Thanks

Title Year Status Character
Knight of Cups 2015 special thanks
Invent Nothing, Deny Nothing: Five Guys from Mamet’s HOMICIDE 2009 Video documentary short special thanks
Choke 2008 thanks
Blues by the Beach 2004 Documentary special thanks
Frogs for Snakes 1998 special thanks

Self

Title Year Status Character
Midway USA’s Gun Stories 2013-2014 TV Series Himself
The Postman Always Rings Twice: Selected Scenes Commentary 2014 Video documentary Himself
The 65th Primetime Emmy Awards 2013 TV Special Himself – Nominee
Gore Vidal: The United States of Amnesia 2013 Documentary Himself
Deceptive Practice: The Mysteries and Mentors of Ricky Jay 2012 Documentary Himself – Writer & Director
The Simpsons 2011 TV Series Himself
Charlie Rose 1994-2010 TV Series Himself – Guest
The Colbert Report 2010 TV Series Himself – Guest
Redbelt: Behind-the-Scenes of ‘Redbelt’ 2008 Video documentary short Himself
Redbelt: Inside Mixed Martial Arts 2008 Video documentary short Himself
Redbelt: Q&A with Director David Mamet 2008 Video documentary short Himself
Shootout 2008 TV Series Himself
Tavis Smiley 2008 TV Series Himself
Triumph and Tragedy: The Ray Mancini Story 2007 TV Movie documentary Himself – Writer
David Mamet on ‘House of Games’ 2007 Video documentary short Himself
TCM Guest Programmer 2007 TV Series Himself – Special Guest
Real Time with Bill Maher 2007 TV Series Himself
Biography 2004-2006 TV Series documentary Himself
A Tribute to Joe Mantegna 2004 TV Short documentary Himself
Check the Gate: Putting Beckett on Film 2003 Video documentary Himself – Director (“Catastrophe”)
Face to Face 1998 TV Series Himself
The Directors 1997 TV Series documentary Himself
Chicago on Stage 1995 TV Movie Himself
The Yiddish Cinema 1991 Documentary Narrator
American Masters 1990 TV Series documentary Himself
Late Night with David Letterman 1984 TV Series Himself
The Irv Kupcinet Show 1984 TV Series Himself

Won Awards

Year Award Ceremony Nomination Movie
2008 ShoWest Award ShoWest Convention, USA Excellence in Filmmaking
2005 Laurel Award for Screen Writing Achievement Writers Guild of America, USA
2001 FFCC Award Florida Film Critics Circle Awards Best Screenplay State and Main (2000)
2000 Jury Award Ft. Lauderdale International Film Festival Best Film State and Main (2000)
1999 Los Charales Award Ajijic International Film Festival Best Studio Feature Film The Winslow Boy (1999)
1999 Truly Moving Picture Award Heartland Film The Winslow Boy (1999)
1994 Wise Owl Award – Honorable Mention Retirement Research Foundation, USA Television and Theatrical Film Fiction Great Performances (1971)
1992 ALFS Award London Critics Circle Film Awards Screenwriter of the Year Homicide (1991)
1989 ALFS Award London Critics Circle Film Awards Screenwriter of the Year House of Games (1987)
1987 Golden Osella Venice Film Festival Best Screenplay House of Games (1987)
1987 Pasinetti Award Venice Film Festival Best Film House of Games (1987)
1987 Cinecritica Award Venice Film Festival House of Games (1987)
1987 Golden Ciak Venice Film Festival Best Film House of Games (1987)

Nominated Awards

Year Award Ceremony Nomination Movie
2014 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Movies for Television and Mini-Series Phil Spector (2013)
2013 Primetime Emmy Primetime Emmy Awards Outstanding Directing for a Miniseries, Movie or a Dramatic Special Phil Spector (2013)
2013 Primetime Emmy Primetime Emmy Awards Outstanding Miniseries or Movie Phil Spector (2013)
2013 Primetime Emmy Primetime Emmy Awards Outstanding Writing for a Miniseries, Movie or a Dramatic Special Phil Spector (2013)
2013 OFTA Television Award Online Film & Television Association Best Direction of a Motion Picture or Miniseries Phil Spector (2013)
2013 OFTA Television Award Online Film & Television Association Best Writing of a Motion Picture or Miniseries Phil Spector (2013)
2001 CFCA Award Chicago Film Critics Association Awards Best Screenplay State and Main (2000)
2001 Chlotrudis Award Chlotrudis Awards Best Original Screenplay State and Main (2000)
2001 OFCS Award Online Film Critics Society Awards Best Screenplay State and Main (2000)
2001 Golden Satellite Award Satellite Awards Best Screenplay, Original State and Main (2000)
2000 Chlotrudis Award Chlotrudis Awards Best Director The Winslow Boy (1999)
1999 BAFTA Film Award BAFTA Awards Best Screenplay – Adapted Wag the Dog (1997)
1999 Chlotrudis Award Chlotrudis Awards Best Screenplay The Spanish Prisoner (1997)
1999 Edgar Edgar Allan Poe Awards Best Motion Picture The Spanish Prisoner (1997)
1999 Independent Spirit Award Independent Spirit Awards Best Screenplay The Spanish Prisoner (1997)
1998 Oscar Academy Awards, USA Best Writing, Screenplay Based on Material Previously Produced or Published Wag the Dog (1997)
1998 Golden Globe Golden Globes, USA Best Screenplay – Motion Picture Wag the Dog (1997)
1998 OFTA Film Award Online Film & Television Association Best Writing, Screenplay Based on Material from Another Medium Wag the Dog (1997)
1998 WGA Award (Screen) Writers Guild of America, USA Best Screenplay Based on Material Previously Produced or Published Wag the Dog (1997)
1997 ACCA Awards Circuit Community Awards Best Adapted Screenplay Wag the Dog (1997)
1993 CFCA Award Chicago Film Critics Association Awards Best Screenplay Glengarry Glen Ross (1992)
1993 WGA Award (Screen) Writers Guild of America, USA Best Screenplay Based on Material Previously Produced or Published Glengarry Glen Ross (1992)
1991 Palme d’Or Cannes Film Festival Homicide (1991)
1989 Edgar Edgar Allan Poe Awards Best Motion Picture Things Change (1988)
1988 Golden Globe Golden Globes, USA Best Screenplay – Motion Picture House of Games (1987)
1988 David David di Donatello Awards Best Foreign Screenplay (Migliore Sceneggiatura Straniera) House of Games (1987)
1988 Golden Lion Venice Film Festival Things Change (1988)
1988 WGA Award (Screen) Writers Guild of America, USA Best Screenplay Based on Material from Another Medium The Untouchables (1987)
1987 Golden Lion Venice Film Festival House of Games (1987)
1983 Oscar Academy Awards, USA Best Writing, Screenplay Based on Material from Another Medium The Verdict (1982)
1983 Golden Globe Golden Globes, USA Best Screenplay – Motion Picture The Verdict (1982)
1983 WGA Award (Screen) Writers Guild of America, USA Best Drama Adapted from Another Medium The Verdict (1982)

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