Quote

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.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
First
Perfection
Nineteen
Done
Behavior
Kicked
Thing
Feeling
Speaker
Long
Perfect
Inch
Time
Felt
Repeated
Like
Feelings
Speakers
Firsts
Inches
Wicker
Nothing
Inspire
Panels

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It's strange, people have asked me what my schedule is and what is my process like, and I can't even answer it.
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You have to escape to survive, as you must survive to escape.
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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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I imagine a soul is a little perfect crystal egg floating in your chest. Somewhere deeper than where they put your heart. Somewhere so deep inside that the doctors can't find it with all their machines and microcameras.
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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 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 think, for me, when I direct my own work it's just an extension of the authorship.
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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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We only have so much time.... Time will kill you – it really will.
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Sometimes when I'm directing, the stage manager will have a good idea and that's okay with me.
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Whenever I've been in rehearsals, it's really fun, there's always laughing.
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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'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 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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I find that more and more I'm trying to entertain myself when I'm working, because I know the work's going to go to a horrible place.
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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 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 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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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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