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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
Think
Thinking
Daunted
Machinery
Huge
Littles
Little
Play
Really
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I would hope that the staffs at juvenile detention centers and reform schools are carefully chosen so that there is a community of support and hope.
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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 began stealing a lot of ideas from other directors I had worked with.
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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'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've never really felt that I've had the right hair cut, or had the right clothes.
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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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We only have so much time.... Time will kill you it really will.
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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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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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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 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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What I've learned in the last few years is that I am merely a storyteller.
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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 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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You can always count on the New York Times to cut your legs off.
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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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I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.
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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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