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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
Bigs
Process
Illusive
Find
Auditioning
Come
Result
Work
Already
Really
Results
Lying
Actors

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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 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.
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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 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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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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The rooms I tend to be in are pretty democratic and the best idea wins.
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You have to escape to survive, as you must survive to escape.
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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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I feel that I'd rather know an actors' work, or have an instinct about them and sit down and have coffee with them, or I'll see them in something and I'll see if I can get along with them in some way, shape, or form.
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When I am directing, it is much, much, much, much, much different. I'm a much more practical person in the world, I show up on time, I am very rigorous about scheduling, and I am very focused. But when I'm writing I am just a big, irresponsible mess and I'm just impossible to get in touch with, and I don't spend time with friends.
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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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I don't mind him not talking so much, because you can hear his voice in your heart the same way you can hear a song in your head even if there isn't a radio playing the same way you can hear those blackbirds flying when they're not in the sky
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We only have so much time.... Time will kill you – it really will.
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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 think I'm a little more daunted by when the machinery of the play is really huge.
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What I've learned in the last few years is that I am merely a storyteller.
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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've been living in Portland for five months and I'm not sure how I feel about it. I probably won't really know for years because that's how it works right? You don't really develop feelings about a place till you've left it. It's like a girl or a dog.
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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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