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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.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Scene
Couple
Room
Rooms
Actors
Feel
Behaving
Feels
Scenes
Confident

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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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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'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 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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Fifteen years ago I killed my sister.
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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 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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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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I dont see a lot of movies that portray the East Village as well as I think they can.
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I think I'm a little more daunted by when the machinery of the play is really huge.
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You have to escape to survive, as you must survive to escape.
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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 think, for me, when I direct my own work it's just an extension of the authorship.
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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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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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Whenever I've been in rehearsals, it's really fun, there's always laughing.
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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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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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I began stealing a lot of ideas from other directors I had worked with.
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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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