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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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You have to escape to survive, as you must survive to escape.
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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 just love working with actors, and I love working with writers, working with designers.
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You can always count on the New York Times to cut your legs off.
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Fifteen years ago I killed my sister.
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The rooms I tend to be in are pretty democratic and the best idea wins.
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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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It's been hard for me to not write, and that's the only process I can speak to I guess, it's so compulsive and I need to do it all the time that sometimes I make myself not do it so I can actually tend to my life.
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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 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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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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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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I don't like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.
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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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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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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 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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Whenever I've been in rehearsals, it's really fun, there's always laughing.
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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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In Chekhov, when people leave, a carriage is taking them away forever. The stakes are so high just for someone to make a simple exit. And now we have all this access to public transportation, automobiles and jets and the Internet we're so easily distracted, but the world is still designed to destroy you. It just happens quicker and faster now.
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