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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.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Really
Results
Lying
Actors
Bigs
Process
Illusive
Find
Auditioning
Come
Result
Work
Already

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My life has been in shambles, like my personal relationships, my laundry, paying bills now I have someone who pays my bills and it's always been a challenge because it overwhelms me.
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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 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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There must be some unwritten law that says about fifty people have to move into your house when somebody dies. If it weren't for the smell of death clinging to the walls, you might think it was your family's turn to host the month neighborhood potluck supper.
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When I kicked in the first TV – a nineteen-inch Magnavox with wicker speaker panels – it felt like the most perfect thing I had done in a long time. And there's nothing like the feeling of perfection that will inspire repeated behavior.
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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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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 think there is a complicated side effect to overcoming evil in that we are forever changed by it. I think after we ingest some of the cruelty of the world, it takes years off of our lives, but it also gives us wisdom and a little grace, hopefully a sense of compassion.
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I think I'm a little more daunted by when the machinery of the play is really huge.
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I find that more and more I'm trying to entertain myself when I'm working, because I know the work's going to go to a horrible place.
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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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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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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 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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When I'm directing, I'm pretty much not writing, but when I'm not directing I am writing a lot.
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I grew up eating hamburger helper, macaroni and cheese, and drinking lots of milk, and looked at lots of cows but I feel like a New Yorker now, I've lived here for sixteen years.
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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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What I've learned in the last few years is that I am merely a storyteller.
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Man, that's the only kind of book I like – one that's so real you want to find out everything there is to know about the person who wrote it, like how tall he is and what kind of music he likes and whether or not he really went through all the stuff he was writing about.
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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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