Quote

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.

Adam Rapp

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TAGS & TOPICS

Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Feels
Milk
Macaroni
Years
Lots
Hamburger
Like
Drinking
Helpers
Looked
Yorker
Eating
Hamburgers
Lived
Sixteen
Grew
Cows
Feel
Cheese
Helper

More quotes by Adam Rapp

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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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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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I dont see a lot of movies that portray the East Village as well as I think they can.
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A typical day for me is I'm writing when I'm not directing.
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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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We only have so much time.... Time will kill you – it really will.
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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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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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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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I just love working with actors, and I love working with writers, working with designers.
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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 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 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 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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The rooms I tend to be in are pretty democratic and the best idea wins.
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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 because my brother was an actor and I just saw how he struggled through, I guess I'm sensitive to it.
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When it's just a few scenes and a couple of actors behaving in a room, I feel very confident with that.
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Fifteen years ago I killed my sister.
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