I am grateful to the editors of Encyclopedia Britanica for providing biographical information about David Mamet, one of the most active and productive thought leaders in contemporary society. He was born November 30, 1947, in my hometown, Chicago). He is an American playwright, director, and screenwriter noted for his often desperate working-class characters and for his distinctive, colloquial, and frequently profane dialogue. He shares much in common with August Wilson.

Mamet began writing plays while attending Goddard College, Plainfield, Vermont (B.A. 1969). Returning to Chicago, where many of his plays were first staged, he worked at various factory jobs, at a real-estate agency, and as a taxi driver; all these experiences provided background for his plays. In 1973 he cofounded a theatre company in Chicago. He also taught drama at several American colleges and universities.

Mamet’s early plays included Duck Variations (produced 1972), in which two elderly Jewish men sit on a park bench and trade misinformation on various subjects. In Sexual Perversity in Chicago (produced 1974; filmed as About Last Night… [1986]), a couple’s budding sexual and emotional relationship is destroyed by their friends’ interference. American Buffalo (produced 1975; film 1996) concerns dishonest business practices; A Life in the Theatre (produced 1977) explores the teacher-student relationship; and Speed-the-Plow (produced 1988) is a black comedy about avaricious Hollywood scriptwriters.

Glengarry Glen Ross (produced 1983; film 1992), a drama of desperate real-estate salesmen, won the 1984 Pulitzer Prize for drama. Oleanna (produced 1992; film 1994) probes the definition of sexual harassment through the interactions between a professor and his female student. Mamet attempted to address the accusations of chauvinism frequently directed at his work with Boston Marriage (produced 1999), a drawing-room comedy about two lesbians. Dr. Faustus (produced 2004) puts a contemporary spin on the German Faust legend, and Romance (produced 2005) comically skewers the prejudices of a Jewish man and his Protestant lawyer.

Mamet’s later plays included November (produced 2008), a farcical portrait of a U.S. president running for reelection; Race (produced 2009), a legal drama that explores racial attitudes and tensions; The Anarchist (produced 2012), which depicts a charged meeting between a women’s prison official and an inmate seeking parole; China Doll (produced 2015), about a wealthy con man; and Bitter Wheat (produced 2019), a topical drama featuring a powerful filmmaker who is accused of sexual misconduct (the character was modeled on Harvey Weinstein). In all these works, Mamet used the rhythms and rhetoric of everyday speech to delineate character, describe intricate relationships, and drive dramatic development.

Mamet wrote screenplays for a number of motion pictures, including The Postman Always Rings Twice (1981); The Verdict (1982), for which he received an Academy Award nomination; Rising Sun (1993); Wag the Dog (1997), for which he received another Oscar nomination; and Hannibal (2001), all adaptations of novels. He both wrote and directed the motion pictures House of Games (1987), Homicide (1991), and The Spanish Prisoner (1998). In 1999 he directed The Winslow Boy, which he had adapted from a play by Terence Rattigan. State and Main (2000), a well-received ensemble piece written and directed by Mamet, depicts the trials and tribulations of a film crew shooting in a small town. He also applied his dual talents to Heist (2001), a crime thriller; Redbelt (2008), a latter-day samurai film about the misadventures of a martial arts instructor; and Phil Spector (2013), an HBO docudrama set during the notorious record producer’s first murder trial. Mamet created and wrote The Unit (2006–09), a television drama that centred on the activities of a secret U.S. Army unit.

Mamet wrote fiction, including The Village (1994); The Old Religion (1997), a novelization of an actual anti-Semitic lynching in the American South; and Wilson: A Consideration of the Sources (2000), which speculates on the havoc that might be caused by a crash of the Internet. He published several volumes articulating his stance on various aspects of theatre and film, including On Directing Film (1992), Three Uses of the Knife (1996), and True and False: Heresy and Common Sense for the Actor (1999). Compilations of his essays and experiences included Writing in Restaurants (1987), Make-Believe Town (1996), and Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business (2007). Mamet addressed the topic of anti-Semitism in The Wicked Son: Anti-Semitism, Self-Hatred, and the Jews (2006) and challenged American liberal orthodoxy in The Secret Knowledge: The Dismantling of American Culture (2011). He wrote several plays for children as well.

Here is a direct link to a rare opportunity observe David Mamet in  conversation, in this instance with Charlie Rose a few years ago.