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.
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!
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.
Interviewed by Frank Rich at the Lighthouse International Theater on Feb. 12th in NYC. [January 2007]
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.
Based his play 'Glengarry Glen Ross' on his own time working in a Real Estate office.
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.
[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'.
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.
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'.
There's no such thing as character development; all there is is action.
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.
Before the US  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.
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.
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.
I have to admit that I don't like Disneyland.
[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.
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.
Hollywood is like cocaine. You cannot understand its attraction until you are doing it. And when you are doing it, you are insane.
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.
Thank God Hollywood people don't have souls so they don't have to suffer through their lives.
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."
[when asked to comment on adapting his own work for the screen] It's like raping your children to teach them about sex.
A good film script should be able to do completely without dialogue.
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.
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.
In a world we find terrifying, we ratify that which doesn't threaten us.
There's no such thing as talent; you just have to work hard enough.
I've always been more comfortable sinking while clutching a good theory than swimming with an ugly fact.
[to acting students at Atlantic Theater Company]Invent nothing, deny nothing.