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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.

Adam Rapp

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Adam Rapp
Age: 56
Born: 1968
Born: June 15
Film Director
Novelist
Joliet
Illinois
Sensitive
Guess
Saws
Brother
Actor
Actors
Think
Thinking
Struggled

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When I kicked in the first TV – a nineteen-inch Magnavox with wicker speaker panels – it felt like the most perfect thing I had done in a long time. And there's nothing like the feeling of perfection that will inspire repeated behavior.
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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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I just love working with actors, and I love working with writers, working with designers.
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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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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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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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You can always count on the New York Times to cut your legs off.
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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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You have to escape to survive, as you must survive to escape.
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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 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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Sometimes when I'm directing, the stage manager will have a good idea and that's okay with me.
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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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Whenever I've been in rehearsals, it's really fun, there's always laughing.
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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 find auditioning to be a very illusive process, where actors come in with this really big result with no process, so it's a lie already at work.
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The rooms I tend to be in are pretty democratic and the best idea wins.
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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 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 don't like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.
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