A Quote by 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.
Related Quotes
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.
That was my gift . . . having the ability to put certain guys together that would create a chemistry and then letting them go; letting them play what they knew, and above it.
You don't need great actors to do a 3D picture. All of this condescending stuff that they put out? "Oh, we will always need actors." Bullshit! They are able to take anybody and put some markers on them, and have them walk through an empty room. Then they paint in the background.
I actually take images of things and put them up around the wall and in a room. I set a room aside. It might be colors, it might be animals, or energy and words. And I'll just leave it there, so it begins to work on my subconscious when I think about the character. Which gives me some latitude to be really flexible and spontaneous but within the context of the character and the world of the character without having to think about it. Or I'll look at something or read something and let it work on my subconscious mind.
And so I put down some of the things that he said, about keeping your tools sharpened and not letting them lie on the ground where they get hurt or get abused and dirty and can't find them. And some thoughts about how his father used to do things.
I love to choose the right actors. It's kind of a pleasure to work with them and watch them imbue your concepts that you write.
Often you find actors have big hearts; they're quite emotional people. Talking to actors who date other actors, and talking to people who deal with other actors, they often get emotionally caught up in lots of different things. They often wear their hearts on their sleeves. They feel things quite a lot - often to the nth degree, which I can imagine could make it quite difficult to date some of us. I think it's about having an emotional availability that you can kind of draw on. But I'm also searching for that. I'll be searching for the answer to that question for the rest of my life.
As a CEO, you get sucked into dealing with all the tasks of being a CEO. There's a big meeting, a big discussion, and you get into all the big issues, which is your job. But what CEOs often lose sight of is that it's all about the people who work for you. For every 1,000 decisions, 999 were being made when I was not in the room.
I view all art as an effort to translate brain concepts into a work. These brain concepts are synthetic ones - the result of many experiences. But a single work of art, or even a series of works, more often than not cannot translate these synthetic concepts adequately. Yves Saint Laurent once said that he suffered greatly when creating. He is not alone in that. Most artists do the same and say as much.
You are so used to the support of concepts that when your concepts leave you, although it is your true state, you get frightened and try to cling to them again.
I don't think just because I work with big actors, I will become a big director. So I work with only actors who do justice for my roles.
No, no, no - you don't argue with concepts. You have to claim Dogma, and therefore leave no room for rational thought.
So often actors only mix with actors, which is quite incestuous, and doesn't give them the insight into how other people work.
Some actors can create characters and leave them at 'Cut!', but I work the opposite way and drag them out of me. For me, it's about fixing your fabric to fit the role.
Run focus groups. Do whatever you need to do to get 8 to 10 people together in a room and put your product in front of them. Ask them how much they would pay for it and whether they would pay for it. It's really important to get user validation early and often.
It's the big question of every TV show, right, where you have these two people who it's clear the world wants to put them together and everyone wants to see them together, but also when you're telling these stories you can't throw these people together immediately.
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