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I think, for me, when I direct my own work it's just an extension of the authorship.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Thinking
Authorship
Extension
Extensions
Direct
Work
Think

More quotes by Adam Rapp

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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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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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Sometimes when I'm directing, the stage manager will have a good idea and that's okay with me.
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I don't like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.
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The rooms I tend to be in are pretty democratic and the best idea wins.
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You can't run forever. There's only so much pavement that the road makers lay down. After a while, the highway quits going north and it just turns into sky. And you can't go anywhere in the sky unless you have a plane or some kind of rocket.
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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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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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You have to escape to survive, as you must survive to escape.
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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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A typical day for me is I'm writing when I'm not directing.
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You can always count on the New York Times to cut your legs off.
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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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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 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 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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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 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'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 dont see a lot of movies that portray the East Village as well as I think they can.
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