Studies the links between the cinema and the narrative theatrical sensibility in Mamet. The paper argues that despite Mamet's claims that all he knows about film he learned from Eisenstein, in matter of fact there appears little connection between Mamet's and Eisenstein's cinematic theories. In a 1999 interview, in fact, Mamet revealed that he had actually read fairly extensively from film theory. This paper suggests that that Mamet's films are particularly influenced by the work of V.I. Podovkin. When you look at Eistenstein's construction of uninflected shots, then examine Mamet's films in detail, it becomes apparent that Mamet's narrative cinema uses sequences as (Podovkian) linkage, rather than (Eisensteinian) collision.