I don’t like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.
ADAM RAPPI 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.
More Adam Rapp Quotes
-
-
Obviously the power of the Times is discouraging. It’s killing new plays, demolishing one after another.
ADAM RAPP -
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.
ADAM RAPP -
I think I’m a little more daunted by when the machinery of the play is really huge.
ADAM RAPP -
You can always count on the New York Times to cut your legs off.
ADAM RAPP -
The stakes are so high just for someone to make a simple exit.
ADAM RAPP -
More often than not, an entropy creeps in that strangles me, and then the inevitable happens.
ADAM RAPP -
When I am directing, it is much, much, much, much, much different. I’m a much more practical person in the world,
ADAM RAPP -
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.
ADAM RAPP -
I don’t like it when it’s consumer advocacy, like how you should spend your $60. Great criticism is a kind of literature.
ADAM RAPP -
I think there is a complicated side effect to overcoming evil in that we are forever changed by it.
ADAM RAPP -
I write till the end at least a draft of a play or a novel; but sometimes,
ADAM RAPP -
For some reason it made me want to curl up in the fetal position. I could have slept right there on their kitchen table.
ADAM RAPP -
I appreciate good criticism and I think it’s really important.
ADAM RAPP -
If I tried to write that it would just be false. Or I’d have someone enter with a machine gun.
ADAM RAPP -
I know that they want certain things and they’re in a certain room and they smell like this and they look like that.
ADAM RAPP -
Sometimes when I’m directing, the stage manager will have a good idea and that’s okay with me.
ADAM RAPP -
I don’t mind him not talking so much, because you can hear his voice in your heart
ADAM RAPP -
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.
ADAM RAPP -
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.
ADAM RAPP -
There must be some unwritten law that says about fifty people have to move into your house when somebody dies.
ADAM RAPP -
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.
ADAM RAPP -
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.
ADAM RAPP -
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
ADAM RAPP -
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 -
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.
ADAM RAPP -
In Chekhov, when people leave, a carriage is taking them away forever.
ADAM RAPP