No. What do you mean? Have I talked to him about this... [pause] Aaronow:
Yes. I mean are you actually talking about this, or are we just... Moss:
No, we're just... Aaronow:
We're just "talking" about it. Moss:
We're just speaking about it. [pause] As an idea. Aaronow:
As an idea. Moss:
We're not actually talking about it. Moss:
Talking about it as a... Moss:
As a robbery. Moss:
As a "robbery"? No.
American writer David Mamet
is probably most famous for his distinctive style of writing fast, clever, edgy dialogue. When a playwright wins a Pulitzer Prize, his style does not often go without imitation. Mamet's often-imitated dialogue style is called Mamet Speak
Mamet Speak has the following qualities:
- It is fast. Characters speak in quick succession, frequently cutting each other off, finishing each other's sentences, and repeating themselves whilst the other speaks.
- It is frequently focused on semantics. Mamet's characters are known for manipulating language itself to get what they want, or at least discussing the importance of their particular language.
- It is almost always "vulgar". In keeping with Mamet's general domain of tough-talking characters, Cluster F-Bomb is the name of the game. (Roger Ebert once titled a Movie Glossary entry the "Mamet Dammit" while noting that the swears in question usually weren't that mild.)
Compare Rapid Fire Interrupting
, where the interrupting is one-sided. Also related to World of Snark
- Brian Michael Bendis does this in his works, some even call him the "Mamet of Comics". He variously refers to Mamet as his god, his hero and his go-to source of inspiration.
- A delicious send-up of a possible dialogue from the upcoming Anne Frank movie is here.
- Naturally, the works of David Mamet himself.
- Joyce Carol Oates' Tone Clusters, while scant on the swearing, contains a great deal of the Gulicks rapidly talking over one another at great length, and constantly repeating one another.
- The first scene between Roy and Joe in Angels In America contains a lot of this, with Joe's attempts to get a word in edgewise between Roy's onslaughts of speech.
- Neil La Bute uses a lot of this, particularly in reasons to be pretty and In a Dark, Dark House.
- Each episode being only a few minutes long at most, Hey Ash, Whatcha Playin'? is rife with constant dialogue back and forths, snappy sentences and a fair amount of cursing.