Quote

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

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Without
Figures
Important
Losing
Trying
Spend
Would
Streets
Bearing
Life
Walk
Bone
Like
Rest
Bones
Walks
Figure
Knew
Weight

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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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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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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've never really felt that I've had the right hair cut, or had the right clothes.
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In Chekhov, when people leave, a carriage is taking them away forever. The stakes are so high just for someone to make a simple exit. And now we have all this access to public transportation, automobiles and jets and the Internet we're so easily distracted, but the world is still designed to destroy you. It just happens quicker and faster now.
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I suffer from and enjoy an incredibly vivid dream life. A lot of times there is a sort-of narrative and other times they are just funhouses of non-linear imagery and other scary stuff.
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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'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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What I've learned in the last few years is that I am merely a storyteller.
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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.
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My work is always more emotional than I am. My characters say things to each other that I get accused of not being able to say to my girlfriend.
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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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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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We only have so much time.... Time will kill you – it really will.
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Fifteen years ago I killed my sister.
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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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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 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, for me, when I direct my own work it's just an extension of the authorship.
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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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