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I would hope that the staffs at juvenile detention centers and reform schools are carefully chosen so that there is a community of support and hope.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
School
Centers
Would
Carefully
Schools
Reform
Chosen
Support
Staffs
Community
Detention
Hope
Juvenile

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I don't like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.
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In Chekhov, when people leave, a carriage is taking them away forever. The stakes are so high just for someone to make a simple exit. And now we have all this access to public transportation, automobiles and jets and the Internet we're so easily distracted, but the world is still designed to destroy you. It just happens quicker and faster now.
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What I've learned in the last few years is that I am merely a storyteller.
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I've never really felt that I've had the right hair cut, or had the right clothes.
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I think, for me, when I direct my own work it's just an extension of the authorship.
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My work is always more emotional than I am. My characters say things to each other that I get accused of not being able to say to my girlfriend.
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When it's just a few scenes and a couple of actors behaving in a room, I feel very confident with that.
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I dont see a lot of movies that portray the East Village as well as I think they can.
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I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter.
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You can't run forever. There's only so much pavement that the road makers lay down. After a while, the highway quits going north and it just turns into sky. And you can't go anywhere in the sky unless you have a plane or some kind of rocket.
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I find auditioning to be a very illusive process, where actors come in with this really big result with no process, so it's a lie already at work.
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One of the tricks to writing great plays is to get people in a room together and not let them leave. You want the tension to escalate. Keeping them there is the hardest part, so you have to take away any excuse for them to leave.
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I began stealing a lot of ideas from other directors I had worked with.
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It was like losing an important weight-bearing bone, and I knew I would spend the rest of my life trying to figure out how to walk the streets without it.
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I don't put big concepts on my work, and it's all often about keeping actors in a room together and not letting them leave.
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I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.
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I think because my brother was an actor and I just saw how he struggled through, I guess I'm sensitive to it.
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I think auditioning can be very reductive and I just hate how actors work really hard and most of them aren't going to get the job, and I hate putting them through that.
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I suffer from and enjoy an incredibly vivid dream life. A lot of times there is a sort-of narrative and other times they are just funhouses of non-linear imagery and other scary stuff.
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You can always count on the New York Times to cut your legs off.
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