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Mamet, David Biography




biography of Mamet, David

David Alan Mamet
30 November 1947, Chicago, Illinois, USA
5' 6"


-   'Rebecca Pidgeon' (qv) (22 September 1991 - present); 2 children

-   'Lindsay Crouse' (qv) (21 December 1977 - 1990) (divorced); 2 children


-   Frequently makes use of 'William H. Macy' (qv), 'Alec Baldwin' (qv) and 'Joe Mantegna' (qv), actors who also headlined his stage productions. Other regulars include 'Ed O'Neill', 'Lionel Mark Smith' (qv), 'Ricky Jay' (qv), 'Jonathan Katz (I)' (qv) and the late 'J.T. Walsh' (qv).

-   The telephone is often a key device or weapon in his works

-   His films feature bursts of fast moving, profane dialog

-   Often casts his wife, 'Rebecca Pidgeon' (qv), in prominent roles in movies he directs. While he was married to 'Lindsay Crouse' (qv), the same was true for her.

-   Great attention to realistic dialogue, often the actors in his films stutter or even leave a large portion of their lines unsaid.


-   Playwright/screenwriter

-   Well known for the rhythmic nature of his dialogue, he actually uses a metronome during rehearsals to perfect the actors' delivery of it.

-   Won the Pulitzer prize in Drama for "Glengary Glen Ross".

-   His stage work assayed in book entitled, "How Good is David Mamet, Anyway?" by critic 'John Heilpern' (qv), Dec. 1999.

-   Attended Goddard College, Plainfield, VT with 'William H. Macy' (qv) and 'Jonathan Katz (I)' (qv).

-   Brother of 'Lynn Mamet' (qv).

-   2 children with actress 'Rebecca Pidgeon' (qv): Clara and Noah.

-   Daughters with 'Lindsay Crouse' (qv): Willa and 'Zosia Mamet' (qv).

-   His play "Boston Marriage" was performed at the Donmar Warehouse and New Ambassador's Theatre in London and was nominated for a 2002 'Laurence Olivier' Theatre Award for Best New Comedy of 2001.

-   Eschews using a personal computer to write his screenplays and plays, preferring to use his old-fashioned typewriter.

-   Used to work as a waiter at Second City Theater in Chicago.

-   Brother-in-law of 'Matthew Pidgeon' (qv).

-   Was twice nominated for Broadway's Tony Award for Best Play: in 1984 for "Glengarry Glen Ross," and in 1988 for "Speed-the-Plow.".

-   Often either declines credit or uses a pseudonym if he is called upon only as a script doctor, or some films he doesn't direct. The only such film that credited him by name was _Hannibal (2001)_ (qv).

-   He wanted to be an actor as a young man but his attempts failed so he turned to writing and directing in order to stay in the industry.

-   Occasional co-lyricist for his wife, singer 'Rebecca Pidgeon' (qv).

-   His play, "Glengarry Glen Ross", was awarded the 1984 'Joseph Jefferson (I)' (qv) Award for Play Production at the Goodman Theatre in Chicago, Illinois.

-   Won the 1984 Pulitzer Prize for Drama for the play "Glengarry Glen Ross" and was nominated for the 1995 Pulitzer Prize for Drama for the play "The Cryptogram".

-   Ex-son-in-law of 'Russel Crouse' (qv).

-   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.


-   Worked as a writer for Playboy in the '70s.

-   (1998) Book: "Three Uses of the Knife: On the Nature and Purpose of Drama" (lectures/essays)

-   (1991) Book: "On Directing Film" (Penguin Books)

-   (2002) Stage: Directed 'Ricky Jay' (qv) in his one-man show "Ricky Jay on the Stem"

-   Book of essays: "Writing in Restaurants"

-   Stage: Wrote / directed "Glengarry Glen Ross". Won Pulitzer Prize for Drama (filmed as _Glengarry Glen Ross (1992)_ (qv)).

-   Stage: Wrote / directed "Sexual Perversity in Chicago" (filmed as _About Last Night... (1986)_ (qv))

-   Stage: Wrote / directed "Speed the Plow" (produced on Broadway [revival] in 2008).

-   Stage: Wrote / directed "American Buffalo" (filmed as _American Buffalo (1996)_ (qv)).

-   (1999) Stage: "Oleanna" (produced at Boras City Theatre, Boras, Sweden; filmed as _Oleanna (1994)_ (qv)).

-   Stage: Wrote / directed "Lakeboat" (filmed as _Lakeboat (2000)_ (qv)).

-   Playwright: "Edmund"

-   (2007) Book: "Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business". New York: Pantheon, ISBN 9780375422539

-   (2007) TV commercial: Directed Ford Edge TV commercials "True Stories"

-   Playwright: "Romance"

-   Playwright: "The Water Engine"

-   TV commercial: Directed "True Stories/Quieter Than a Lexus" commercial for Ford Edge

-   TV commercial: Directed "True Stories/Quicker Than A BMW" commercial for Ford Edge.

-   (1989) Stage: His play, "A Life in the Theatre", was produced at Theatre Royal Haymarket, London England. Cast: 'Denholm Elliott' (qv).

-   (1994) Stage: His play, "The Cryptogram," was performed at the Ambassadors Theatre in London, England, with Lindsay Duncan and 'Eddie Izzard' (qv).

-   (1976) Stage: His play, "American Buffalo," was performed at the St. Nicholas Theater Company in Chicago, Illinois, with J.J. Johnston and 'William H. Macy' (qv).

-   (1982) Stage: His play, "The Lakeboat," was performed at the Goodman Theatre in Chicago, Illinois. Crew included Michael Merritt (scenic designer) and F. Mitchell Dana (lighting designer).

-   (1984) Stage: His play, "Glengarry Glen Ross," was performed at the Goodman Theatre in Chicago, IL, with 'Joe Mantegna' (qv), 'Robert Prosky' (qv) and directed by 'Gregory Mosher' (qv). NOTE: Won Joseph Jefferson Award for Play Production.

-   (1985) Stage: His play, "The Water Engine," was performed at the Goodman Theatre in Chicago, IL. Crew also included Steven Schacter (director), John Lee Beatty (scenic designer), and Dennis Parichy (lighting designer).

-   (1989) Stage: His play, "Speed-the-Plow," was performed at the Remains and Wisdom Briges Theatres in Chicago, IL, with 'D.W. Moffett' (qv) in the cast.

-   (2000) Stage: His play, "American Buffalo," was performed at the American Theater Company in Chicago, IL, with Scott Cooper (scenic designer).

-   (2002) Stage: His play, "Glengarry Glen Ross," was performed at the Steppenwolf Theatre Company in Chicago, IL. Amy Morton was director and Derek McLane was scenic designer.

-   (2006) Stage: His play, "A Life in the Theatre," was performed at the Goodman Theatre in Chicago, IL. Michael Philippi was lighting designer.

-   (1995) Playwright: "The Cryptogram". NOTE: Nominated for Pulitzer Prize for Drama.

-   (2001) Stage: His play "Boston Marriage" was performed at the Donmar Warehouse and New Ambassador's Theatre in London. NOTE: Nominated for a 2002 Laurence Olivier Theatre Award for Best New Comedy of 2001.

-   (2009-2010 Season) His play, "American Buffalo," was performed at the Steppenwolf Theatre Company in Chicago, Illinois with Tracey Letts in the cast.

-   (1989) His play, "Speed The Plow," was performed in a British National Theatre production at the Lyttelton Theatre in London, England with Alfred Molina, Colin Stinton, and Rebecca Pidgeon in the cast. Gregory Mosher was director.

-   (1984) His play, "American Buffalo," was performed at the Duke of York's Theatre in London, England with Al Pacino, J.J. Johnston, and Bruce MacVittie in the cast. Arvin Brown was director.

-   (2010-2011) His play, "Speed-The-Plow," was performed at the American Theater Company in Chicago, Illinois with Lance Baker in the cast.

-   (1989) His play, "A Life in the Theatre," was performed at the Theatre Royal Haymarket in London, England with Denholm Elliott and Samuel West in the cast.


-   Gay Brewer. _David Mamet and Film: Illusion/Disillusion in a Wounded Land._ Jefferson, NC: McFarland & Company, Inc., 1993. ISBN 0899508340

-   John Hellpern. _How Good Is David Mamet, Anyway?._ 1999.

-   Ira Nadel. _David Mamet: A Life in the Theatre._ New York City, NY: Palgrave MacMillan, 2008. ISBN 0-312-29344-5


-   [to acting students at Atlantic Theater Company]Invent nothing, deny nothing.

-   I've always been more comfortable sinking while clutching a good theory than swimming with an ugly fact.

-   There's no such thing as talent; you just have to work hard enough.

-   In a world we find terrifying, we ratify that which doesn't threaten us.

-   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.

-   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.

-   A good film script should be able to do completely without dialogue.

-   [when asked to comment on adapting his own work for the screen] It's like raping your children to teach them about sex.

-   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."

-   Thank God Hollywood people don't have souls so they don't have to suffer through their lives.

-   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.

-   Hollywood is like cocaine. You cannot understand its attraction until you are doing it. And when you are doing it, you are insane.

-   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.

-   [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.

-   I have to admit that I don't like Disneyland.

-   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'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.

-   Before the US [2006] 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.

-   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.

-   There's no such thing as character development; all there is is action.

-   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'.

-   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.


-   (January 2007) Interviewed by 'Frank Rich (II)' (qv) at the Lighthouse International Theater on Feb. 12th in NYC.


-   "Empire" (Russia), June 2008, Iss. 6, pg. 72-75, by: Sergei Rakhlin, "Samyy umnyy i skromnyy rezhissyor Gollivuda"

-   "The Times Magazine" (UK), 24 January 1998, pg. 14-21+23, by: John Lahr, "Fortress Mamet"

-   "Playboy" (USA), April 1995, Vol. 42, Iss. 4, pg. 51-60+148-150, by: Geoffrey Norman & John Rezek, "The Playboy Interview"

-   "Telegraph Magazine" (UK), 18 June 1994, pg. 16-18+20+22, by: Georgina Howell, "The Voice of America"

-   "Chicago Sun-Times" (USA), 1975, by: 'Gary Houston' (qv), "Q & A"


-   "Asbury Park Press" (USA), 31 October 2010, Vol. 132, Iss. 24, pg. E9, by: Bill Canacci, "Mamet Play Has Its Moments"

-   "The New York Times" (USA), 5 February 2010, Vol. 159, Iss. 54,942, pg. C5, by: Dave Itzkoff, "'Life in the Theater' To Get Broadway Run"

-   "The New York Times" (USA), 7 December 2009, Vol. 159, Iss. 54,882, pg. C1 & C7, by: Ben Brantley, "In Mametland, a Skirmish in Black and White"

-   "The New York Times" (USA), 18 November 2009, Vol. 159, Iss. 54,863, pg. C2, by: Dave Itzkoff, "'Oleanna' to Close"

-   "The New York Times" (USA), 1 October 2009, Vol. 159, Iss. 54,815, pg. C2, by: Dave Itzkoff, "At a Mamet Play, a Real-Life Story"

-   "The New York Times" (USA), October 2009, Vol. 159, Iss. 54,815, pg. C3, by: Ben Brantley, "Playing With Fire and Farce: It's Mamet"

-   "The Independent" (UK), 15 August 2009, Iss. 7126, pg. 5, by: Guy Adams, "Anne Frank to get the David Mamet treatment"

-   "The New York Times" (USA), 23 April 2008, Vol. 157, Iss. 54,289, pg. E2, by: Campbell Robertson, "With 'Speed-the-Plow,' David Mamet Gathers Steam on Broadway"

-   "The Sunday Times" (UK), 30 March 2008, by: David Mamet, "David Mamet ditches his left-wing beliefs"

-   "The Independent" (UK), 13 March 2008, Iss. 6680, pg. 3, by: David Usborne, "Mamet's new work: Why I am no longer a brain-dead liberal"

-   "The New York Times Book Review" (USA), 24 February 2008, pg. 11, by: Jeremy McCarter, "Profane Poet"

-   "The Los Angeles Times" (USA), 21 February 2008, by: Marc Weingarten, "The Making of an American Playwright"

-   "The New York Times" (USA), 20 February 2008, Vol. 157, Iss. 54,226, pg. E3, by: Caryn James, "In Mamet's Political World, the One With Ideals Is Odd Woman Out"

-   "The Independent Arts & Books Review" (UK), 8 February 2008, pg. 2 - 4, by: Paul Taylor, "American Visions - The Enigma of David Mamet"

-   "The New York Times" (USA), 18 January 2008, Vol. 157, Iss. 54,193, pg. E1 & E29, by: Ben Brantley, "Mamet, Cornered In the Oval Office"

-   "The Times" (UK), 1 October 2007, by: Dominic Maxwell, "David Mamet: 'I'm Just a Gag Writer'"

-   "The Los Angeles Times" (USA), 19 June 2007, by: Patrick Goldstein, "David Mamet: Helps Hollywood Discover Ultimate Fighting"

-   "ABC [The Independent on Sunday]" (UK), 4 February 2007, pg. 6 - 8, by: Cathy Pryor, "The write stuff"

-   "Film Comment" (USA), September 2005, Vol. 41, Iss. 5, pg. 46+48, by: David Mamet, "Forever Amber: Gambling, Hollywood Style"

-   "The Friday Review (Guardian supplement)" (UK), 1 October 2004, pg. 3, by: David Mamet, "The moving image - both film and TV - is more compromised and corrupted than ever"

-   "T2 (Times supplement)" (UK), 13 April 2004, pg. 14-15, by: Daniel Rosenthal, "Pleased To PC You Again"

-   "G2 (Guardian supplement)" (UK), 8 April 2004, pg. 8-9, by: David Mamet, "'Why can't I show a woman telling lies?'"

-   "The Friday Review (Guardian supplement)" (UK), 3 October 2003, pg. 3, by: David Mamet, "An American tragedy"

-   "Playboy Magazine" (USA), January 2000, pg. 186-187, 257, by: David Mamet, "One or Two Steps Behind"

-   "Entertainment Weekly" (USA), 5 June 1998, Vol. 1, Iss. 435, pg. 18-19, by: Elizabeth Gleick, "Yes, Mamet"

-   "Playboy Magazine" (USA), February 1996, pg. 106-107, 147-150, by: David Mamet, "Scotch"

-   "Playboy Magazine" (USA), September 1994, pg. 78-79, 88, 148-148, by: David Mamet, "The Village"

-   "Playboy Magazine" (USA), January 1994, pg. 178-180, 238-239, by: David Mamet, "A Gambler for Life"

-   "Playboy Magazine" (USA), January 1993, pg. 142-143, 178-180, by: David Mamet, "The Watch"

-   "The Guardian" (UK), 31 October 1990, by: David Mamet, "The Death of the Movie Theatre"

-   "Playboy Magazine" (USA), April 1990, pg. 102-103, 172-173, by: David Mamet, "In the Company of Men"

-   "Playboy Magazine" (USA), December 1989, pg. 118-119, 229-230, by: David Mamet, "Fighting Words"

-   "Playboy Magazine" (USA), August 1989, pg. 110-111, 155, by: David Mamet, "A Time for Mickey Mouse"

-   "Oui" (USA), January 1977, Vol. 6, Iss. 1, pg. 151, by: n/a, "David Mamet: perversifyer"

-   "Resetting the Stage: Theater Beyond the Loop 1960-1990 (exhibition catalogue published by the Chicago Public Library)"" (USA), 1990, by: 'Gary Houston (I)' (qv), "A Vital Arrogance"


-   "Playboy" (USA), September 1977, Vol. 24, Iss. 9, pg. 242-243, by: Vernon L. Smith, "Grapevine: Chairman of the Boards"


-   "The Independent Arts & Books Review" (UK), 8 February 2008

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  93. Hannibal (2001) (screenplay) <2,1,1>
  94. Heist (2001) (written by) <1,1,1>
  95. State and Main (2000) (written by) <1,1,1>
  96. Lakeboat (2000) (play) (uncredited) <1,1,1>
  97. Lakeboat (2000) (written by) <2,1,1>
  98. The Winslow Boy (1999) (screenplay) <2,1,1>
  99. Lansky (1999) (TV) (written by) <2,1,1>
  100. Ronin (1998) (screenplay) (as Richard Weisz) <2,2,1>
  101. The Edge (1997) (written by) <1,1,1>
  102. The Spanish Prisoner (1997) (written by) <1,1,1>
  103. Wag the Dog (1997) (screenplay) <2,2,1>
  104. American Buffalo (1996) (play) <1,1,1>
  105. American Buffalo (1996) (screenplay) <2,1,1>
  106. Texan (1994) (TV) (written by) <1,1,1>
  107. Vanya on 42nd Street (1994) (play adaptation) <2,1,1>
  108. Oleanna (1994) (play) <1,1,1>
  109. Oleanna (1994) (screenplay) <2,1,1>
  110. A Life in the Theater (1993) (TV) (play) <1,1,1>
  111. A Life in the Theater (1993) (TV) (teleplay) <2,1,1>
  112. Glengarry Glen Ross (1992) (play) <1,1,1>
  113. Glengarry Glen Ross (1992) (screenplay) <2,1,1>
  114. The Water Engine (1992) (TV) (play) <2,1,1>
  115. Hoffa (1992) (written by) <1,1,1>
  116. The Water Engine (1992) (TV) (written by) <1,1,1>
  117. Homicide (1991) (written by) <1,1,1>
  118. "Performance" (1992) {Uncle Vanya (#1.0)}
  119. We're No Angels (1989) (written by) <1,1,1>
  120. "The Play on One" (1988) {The Shawl} (writer)
  121. Things Change (1988) (written by) <1,1,1>
  122. The Untouchables (1987) (written by) <2,1,1>
  123. House of Games (1987) (screenplay) <1,1,1>
  124. House of Games (1987) (story) <2,1,2>
  125. "Hill Street Blues" (1981) {A Wasted Weekend (#7.12)} (written by)
  126. About Last Night... (1986) (play "Sexual Perversity in Chicago") <1,1,1>
  127. The Verdict (1982) (screenplay) <2,1,1>
  128. The Postman Always Rings Twice (1981) (screenplay) <2,1,1>
  129. A Life in the Theater (1979) (TV) (play)

Movies Produced

  1. Come Back to Sorrento (2015) (producer)
  2. Phil Spector (2013) (TV) (executive producer)
  3. Endangered (2010) {{SUSPENDED}} (executive producer)
  4. "The Unit" (2006) {The Last Nazi (#4.14)} (executive producer)
  5. "The Unit" (2006) {The Spear of Destiny (#4.13)} (executive producer)
  6. "The Unit" (2006) {Whiplash (#4.19)} (executive producer)
  7. "The Unit" (2006) {Hero (#4.15)} (executive producer)
  8. "The Unit" (2006) {Hill 60 (#4.16)} (executive producer)
  9. "The Unit" (2006) {Bad Beat (#4.12)} (executive producer)
  10. "The Unit" (2006) {Best Laid Plans (#4.18)} (executive producer)
  11. "The Unit" (2006) {Flesh & Blood (#4.17)} (executive producer)
  12. "The Unit" (2006) {Sacrifice (#4.1)} (executive producer)
  13. "The Unit" (2006) {Sex Trade (#4.3)} (executive producer)
  14. "The Unit" (2006) {Shadow Riders (#4.9)} (executive producer)
  15. "The Unit" (2006) {Sudden Flight (#4.2)} (executive producer)
  16. "The Unit" (2006) {Switchblade (#4.11)} (executive producer)
  17. "The Unit" (2006) {The Conduit (#4.4)} (executive producer)
  18. "The Unit" (2006) {Inquisition (#4.6)} (executive producer)
  19. "The Unit" (2006) {Into Hell: Part One (#4.7)} (executive producer)
  20. "The Unit" (2006) {Into Hell: Part Two (#4.8)} (executive producer)
  21. "The Unit" (2006) {Misled and Misguided (#4.10)} (executive producer)
  22. "The Unit" (2006) {Dancing Lessons (#4.5)} (executive producer)
  23. "The Unit" (2006) {The Outsiders (#2.19)} (executive producer)
  24. "The Unit" (2006) {The Water Is Wide (#2.15)} (executive producer)
  25. "The Unit" (2006) {Two Coins (#2.18)} (executive producer)
  26. "The Unit" (2006) {Side Angle Slide (#3.11)} (executive producer)
  27. "The Unit" (2006) {Sub-Conscious (#2.13)} (executive producer)
  28. "The Unit" (2006) {The Broom Cupboard (#2.12)} (executive producer)
  29. "The Unit" (2006) {Games of Chance (#2.16)} (executive producer)
  30. "The Unit" (2006) {Gone Missing (#3.10)} (executive producer)
  31. "The Unit" (2006) {In Loco Parentis (#2.20)} (executive producer)
  32. "The Unit" (2006) {Inside Out (#3.5)} (executive producer)
  33. "The Unit" (2006) {Always Kiss Them Goodbye (#3.3)} (executive producer)
  34. "The Unit" (2006) {Johnny B. Good (#2.14)} (executive producer)
  35. "The Unit" (2006) {Bedfellows (#2.21)} (executive producer)
  36. "The Unit" (2006) {M.P.s (#3.6)} (executive producer)
  37. "The Unit" (2006) {Binary Explosion (#3.9)} (executive producer)
  38. "The Unit" (2006) {Dark of the Moon (#2.17)} (executive producer)
  39. "The Unit" (2006) {Every Step You Take (#3.4)} (executive producer)
  40. "The Unit" (2006) {Pandemonium: Part 1 (#3.1)} (executive producer)
  41. "The Unit" (2006) {Pandemonium: Part Two (#3.2)} (executive producer)
  42. "The Unit" (2006) {Paradise Lost (#2.23)} (executive producer)
  43. "The Unit" (2006) {Play 16 (#3.8)} (executive producer)
  44. "The Unit" (2006) {Five Brothers (#3.7)} (executive producer)
  45. "The Unit" (2006) {Freefall (#2.22)} (executive producer)
  46. "The Unit" (2006) {The Wall (#1.13)} (executive producer)
  47. "The Unit" (2006) {True Believers (#1.4)} (executive producer)
  48. "The Unit" (2006) {Unannounced (#1.10)} (executive producer)
  49. "The Unit" (2006) {Security (#1.6)} (executive producer)
  50. "The Unit" (2006) {SERE (#1.8)} (executive producer)
  51. "The Unit" (2006) {Silver Star (#2.11)} (executive producer)
  52. "The Unit" (2006) {Stress (#1.2)} (executive producer)
  53. "The Unit" (2006) {The Kill Zone (#2.3)} (executive producer)
  54. "The Unit" (2006) {200th Hour (#1.3)} (executive producer)
  55. "The Unit" (2006) {Bait (#2.10)} (executive producer)
  56. "The Unit" (2006) {Manhunt (#2.4)} (executive producer)
  57. "The Unit" (2006) {Change of Station (#2.1)} (executive producer)
  58. "The Unit" (2006) {Morale, Welfare and Recreation (#1.12)} (executive producer)
  59. "The Unit" (2006) {Natural Selection (#2.8)} (executive producer)
  60. "The Unit" (2006) {Non-Permissive Environment (#1.5)} (executive producer)
  61. "The Unit" (2006) {Dedication (#1.7)} (executive producer)
  62. "The Unit" (2006) {Off the Meter (#2.7)} (executive producer)
  63. "The Unit" (2006) {Eating the Young (#1.9)} (executive producer)
  64. "The Unit" (2006) {Old Home Week (#2.6)} (executive producer)
  65. "The Unit" (2006) {Exposure (#1.11)} (executive producer)
  66. "The Unit" (2006) {Extreme Rendition (#2.2)} (executive producer)
  67. "The Unit" (2006) {First Responders (#1.1)} (executive producer)
  68. "The Unit" (2006) {Report by Exception (#2.9)} (executive producer)
  69. "The Unit" (2006) {Force Majeure (#2.5)} (executive producer)
  70. Lansky (1999) (TV) (executive producer)
  71. A Life in the Theater (1993) (TV) (executive producer)
  72. Hoffa (1992) (associate producer)
  73. Lip Service (1988) (TV) (producer)
f