Story telling, not so bad.
Dialogue? Complete garbage. As unnatural as it comes. As unnatural as it comes.... Unnatural. The sink is running. Tell her later.
Garbage.
Makes actors look like real a**holes. Which has always been his M.O. to begin with.
Don't get him; don't get him at all...
Do you like having sex? Then DON'T buy a Nintendo!
You don't get him?
Sorry - couldn't resist...
The writing was pretty bad... First time I watched it I thought I was missing something with all the repeating in the dialogue. I had to watch it at least 3 more times to appreciate the movie.
I don't know. I guess that's just Mamet's style.
- I never spotted the similarities...
Do you like having sex? Then DON'T buy a Nintendo!
Repeating dialog?
/subtle
See my IMDb listing here: http://www.imdb.com/name/nm2482070
The dialog was dreadful in this film, unnatural is the correct word. David Mamet is really hit and miss for me, some of his stuff is really good and some stuff, like Redbelt is just plain awful.
Don't make me laugh, your kung fu is so so.
Mamet is an aquired taste. It isn't intended to be natural dialogue...sometimes it makes it more interesting, sometimes it just makes it slow. Some folk pull Mamet dialogue off better than others...Ejiofor not so much, Ricky Jay born for Mamet dialogue! (Fortunately Ejiofor can act, Jay not so much!)
First Mamet I saw was "House of Games" and it got such great reviews and everyone loved it, I felt I missed that boat. What the heck was up with this stilted freakin language??
But now, I still don't always get it but I do see the appeal.
Ha! That seems to be a staple for Mamet dialogue, all the goddamn repetition.
"Who? Who is going to pay these bills? Who? Are you? Are you? Are you?"
Also, you got characters talking in sentence fragments, which is common, but not a CONSTANT thing with real people.
Then there's the constant interrupting of one's self.
Then there's that one piece of dialogue that sounds good but makes NO SENSE WHATSOEVER. Remember that infamous line from The Heist? "Everybody needs money! That's why it's called money!"
All this crap can work in the right movie. Worked great in Glengarry Glenross and State and Main. Oleanna, however, as interesting as the story is, gets pretty annoying for all the stilted dialogue.
And please...NO MORE REBECCA PIDGEON.
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Agreed, his dialog sucks and he tries way too hard to be esoteric, but at least his stories are usually a lot more interesting than the usual square jawed hero fights evil, saves the world and lives happily ever after crap.
sharei used to think that about mamet - really unrealistic writing. but after reading a bit about him and his techniques i dont think he's aiming for realism. i think he's aiming for drama. and i think it works well. his speciality is stage-writing so i dont think its ideally suited to film...i think he was restricted by the time of the film ie i think something like house of cards is perfect becuase its longer and i think the spanish prisoner was strong and also the gene hackman film. i think you have to get used to his style. i think it works well. the only real **** up i've seen is on Ronin
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