Summary of Everywhere an Oink Oink by David Mamet E-Book

SUMMARY GP

• Herausgeber: BookRix
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2023

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This book does not in any capacity mean to replace the original book but to serve as a vast summary of the original book.

Summary of Everywhere an Oink Oink by David Mamet: An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood

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David Mamet, a renowned playwright, screenwriter, and director, shares his four decades in Hollywood, working with some of the biggest names in movies. He wrote dozens of scripts, directed eleven, and was fired off dozens of movies. In Everywhere an Oink Oink, he discusses the professionalism of the film set, the ever-fickle studios and producers, and the genius of those who made our finest movies. The memoir is illustrated with three-dozen pungent cartoons and caricatures.

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GP SUMMARY

Summary of Everywhere an Oink Oink by David Mamet

An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood

David Mamet, a renowned playwright, screenwriter, and director, shares his four decades in Hollywood, discussing professionalism, studios, and producers, and the genius of those who made the best movies.BookRix GmbH & Co. KG81371 Munich

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Summary of Everywhere an Oink Oink

A

Summary of David Mamet’s book

An Embittered, Dyspeptic, and Accurate Report

of Forty Years in Hollywood

GP SUMMARY

Summary of Everywhere an Oink Oink by David Mamet: An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood

By GP SUMMARY© 2023, GP SUMMARY.

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Contact: [email protected]

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Editing, proofreading: GP SUMMARY

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NOTE TO READERS

This is an unofficial summary & analysis of David Mamet’s “Everywhere an Oink Oink: An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood” designed to enrich your reading experience.

DISCLAIMER

The contents of the summary are not intended to replace the original book. It is meant as a supplement to enhance the reader's understanding. The contents within can neither be stored electronically, transferred, nor kept in a database. Neither part nor full can the document be copied, scanned, faxed, or retained without the approval from the publisher or creator.

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Copyright 2023. All rights reserved.

PROLOGUE

FORTY YEARS IN A HAREM

The author discusses the struggles of the Producer Coterie in Hollywood, arguing that everyone was lying and that the best interest of one person was to benefit themselves. They argue that Hollywood lacks an organization, but it possesses a culture that grows from the fact that everyone is ogging nonsense.

The author also discusses the assumption that the earth is burning or Mickey Mouse is funny, and how those who hold the high ground exhort or extort agreement. They also discuss the importance of artistic creation and the conflict between artists and executives in the industry.

The author began his career in Hollywood at the top as a noted and successful playwright, but he was always looking to better capitalize his stock and time. He was a noted and successful playwright who was always looking to better capitalize his stock and time. His stock-in-trade was dramatic writing, which he believed was the construction of a plot.

As a director, he did ten features and wrote forty or so scripts, half of which were made. However, no one ever liked them save the actors and the audience. The author reflects on the insiders of Hollywood, including the freaks, frauds, recovering virgins, betrayed, and betrayers, and the salacious gossip posing as information.

In conclusion, the author emphasizes the importance of understanding the inner workings of Hollywood and the struggle for success in the industry.

SPEED-THE-PLOW

Producing in Hollywood is a profession that attracts writers, directors, and actors for the fun, prestige, and excitement. Some find stardom, while others make a regular living. The crafts-and-support folk, such as musicians, prop makers, stuntfolk, model makers, armorers, dressers, and character actors, are largely gone. Producers, like those in Washington, produce nothing and spend their time searching for opportunities to advance. They often seek power and money, but their relationship with folk music is ambiguous and often involves deference, betrayal, chicane, or luck.

Producers may initiate, fund, or endorse a film, or they may also be colleagues or assigns of the same. Executive Producers lend an imprimatur to the project, while Associate Producers associate with producers. Self-promoters troll for ignorant talent, promising representation, funding, or influence, but do not have anything to do with the actual exposure of the film. Line Producers (UPM) are the general contractor and the filmmaker's ally and friend.

The term "producer" is used to refer to these individuals, but there is another term for Line Producers (UPM), who are the general contractor and the filmmaker's ally and friend. Agents, such as CAA pitches, exploit the original stars and gain power through exploitation. The old CAA pitch was "I want to be in the David Mamet business. Tell me your dreams. You want to direct more, we'll make it happen."

In conclusion, producing in Hollywood is a profession that attracts a diverse range of people, from writers, directors, and actors to actors and actresses.

The author receives a pitch from a CAA agent, Tony Krantz, offering a half-hour pilot for $250,000. However, the agent argues that this is too much money for a two-week workweek, which would be $16 million a week or $800 million a year. As time passes, the author seeks a new agent and meets Ron Meyer, who is partners with Ovitz. Meyer introduces the author to the head of CAA, who agrees to have the author. The author is excited about the pitch but is aware that the charity-beggars will likely use their money for their own salaries.

However, the pitch changes when the author's career is over, and they are taken to studios to apologize and accept their new position. The author's friend Howard is present at the door.