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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.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
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Joliet
Illinois
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Direct
Compromising
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Directors

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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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Sometimes when I'm directing, the stage manager will have a good idea and that's okay with me.
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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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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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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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There must be some unwritten law that says about fifty people have to move into your house when somebody dies. If it weren't for the smell of death clinging to the walls, you might think it was your family's turn to host the month neighborhood potluck supper.
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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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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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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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You can always count on the New York Times to cut your legs off.
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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 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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It's strange, people have asked me what my schedule is and what is my process like, and I can't even answer it.
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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 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 dont see a lot of movies that portray the East Village as well as I think they can.
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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 think, for me, when I direct my own work it's just an extension of the authorship.
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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 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.
Adam Rapp