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

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You have to escape to survive, as you must survive to escape.
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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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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 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 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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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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You can always count on the New York Times to cut your legs off.
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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 had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, well if I'm going to fight against this, I should learn how to direct.
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I just love working with actors, and I love working with writers, working with designers.
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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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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 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 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 began stealing a lot of ideas from other directors I had worked with.
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I've never really felt good at the parties, but I have enough friends now that I feel social, I used to feel very antisocial, but I think the theater helps.
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The rooms I tend to be in are pretty democratic and the best idea wins.
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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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Fifteen years ago I killed my sister.
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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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