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I think I'm a little more daunted by when the machinery of the play is really huge.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Play
Really
Think
Thinking
Daunted
Machinery
Huge
Littles
Little

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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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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 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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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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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've never really felt that I've had the right hair cut, or had the right clothes.
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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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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 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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Whenever I've been in rehearsals, it's really fun, there's always laughing.
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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 can always count on the New York Times to cut your legs off.
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What I've learned in the last few years is that I am merely a storyteller.
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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 think, for me, when I direct my own work it's just an extension of the authorship.
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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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The rooms I tend to be in are pretty democratic and the best idea wins.
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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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