Adam Rapp Quotes

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.

I think because my brother was an actor and I just saw how he struggled through, I guess I’m sensitive to it.

Man, that’s the only kind of book I like В– 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.

I don’t see a lot of movies that portray the East Village as well as I think they can.

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.

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.

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.’

I dont see a lot of movies that portray the East Village as well as I think they can.

Some of the greatest works of theater, from Chekov’s work to modern playwrights’, consist of just a few people in a room with no one leaving.

I hate the idea of sheltering kids from challenging books. It’s just another form of conservative fear that promotes ignorance more than anything else.

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

You have to escape to survive, as you must survive to escape.

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.

When I’m directing, I’m pretty much not writing, but when I’m not directing I am writing a lot. It’s strange: people have asked me what my schedule is and what is my process like, and I can’t even answer it. I don’t keep regular hours.

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.

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”.

I’m pretty obsessive-compulsive, and I’m very fast. I tend to not write for a long period of time until I can’t not write, and then I write first drafts in gallops. I won’t eat right. I forget to do my laundry.

Film directing has perfected my theater directing. I think when I first started directing, a lot of my stuff was very lateral; I was afraid to have the actors’ backs turned away, afraid to put them too far upstage, and I think once I did more things with film, I got more interested in composition.

The biggest audience for Off Broadway is mostly coming in on a train – either Upper East Siders or Metro-North. I go to the theater, and everyone around me is over 50. How interested will they be in my kind of work?

When you’re poor, you don’t want anyone to know you’re poor.

When I work in the theater, you know you’ll get this almost devotional, religious experience where you’re breaking bread with everyone every day.

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.

I have to be entertained by what I’m writing, so a lot of my stuff has a goofiness or scatological quality. If these characters can entertain me, then I feel like I can deal with the darker or more serious stuff.

When I came to New York, I was really awkward. I went to military academy for high school, so I didn’t have the socialization that most kids do. When I got here, I was five years behind everybody. Talking to women was weird for me.

I like to write about teenagers because it’s such an uncertain and dramatic time.

I love plays that have musical moments. I’m not a big fan of musicals per se, but I love straight plays that have musical edges to them. I don’t know if I will ever be able to structure a musical, but ‘Finer Noble Gases’ is as close as I’ve gotten.

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.

I began stealing a lot of ideas from other directors I had worked with.

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.

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.

Fifteen years ago I killed my sister.

A typical day for me is I’m writing when I’m not directing.

There was a kind of physical anarchy that dominated most of my younger life. I was always too skinny, not hairy enough, my voice jumped around. It was a thing that drove me away from towel lines in gym class.

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.

I saw ‘Six Degrees of Separation’ because my brother was in it. It was a watershed experience. It was theatrical and scary, and New York functioned like a character. John Guare became a hero for me.

I was born in Chicago, then I spent most of my youth in Joliet, Illinois which is about thirty minutes south, and I went to a military academy for high school in Wisconsin. Then I went to college, on a basketball scholarship to a small school in Iowa, so I’m like Mr. Midwest.

We only have so much time…. Time will kill you В– it really will.

I was a jock in college and high school, but I didn’t hang out with the jocks. I was sort of a nerd who didn’t look like a nerd. I never really fit into any social set.

When you’re making under-million-dollar films, it becomes so much about actors’ availability. When you’re using big actors for small films, you’re in second or third position to the big monoliths.