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Whenever I've been in rehearsals, it's really fun, there's always laughing.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Always
Rehearsals
Rehearsal
Whenever
Laughing
Fun
Really

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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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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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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.
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What I've learned in the last few years is that I am merely a storyteller.
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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 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'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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You can always count on the New York Times to cut your legs off.
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My life has been in shambles, like my personal relationships, my laundry, paying bills now I have someone who pays my bills and it's always been a challenge because it overwhelms me.
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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 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 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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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.
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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 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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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 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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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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You have to escape to survive, as you must survive to escape.
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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.
Adam Rapp