Adam Rapp Quotes

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.

Mrs. Leene says I should think about people in the present tense.
"It forces you to take responsibility for them," she says.

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

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.

And then all of a sudden I realized how little time we have. Like on the earth, I mean. And when I say we, I mean everyone. It was a profound realization, and I suddenly had to share this fact with Mary. I know that sounds insane because of how it was already after midnight and all the other crazy things that had happened that day, but it was one of the most important feelings I've ever had – my chest was swelling and everything. It felt like there were only so many hours left on the earth – that's the hardest part about being alive.

Things were pretty cold-blooded back in Rockdale.
That's when my arms were so pretty I could hold them up to the light and see the veins curling all clean and smooth like little blue branches.

Whenever I've been in rehearsals, it's really fun, there's always laughing.

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.

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

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.

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.

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 have to admit, for a second it was sort of turning me on, because I kept imagining Georgia in a very positive light. She was donning designer swimwear with fringe or whatever and she was lying on her stomach with the bikini-top straps untied. I was lathering her up with sun block and my hands were getting into all the cracks and crevices. The image got me pretty excited, and before I knew it, I had an erection. At first I thought it would go away, but it kept getting worse, like harder in that painful way. So that's when I did something a little weird – I started barking at it. Like a Great Dane or a pit bull or whatever. I literally barked at my erection! And it worked, I'm not kidding.

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.

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

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 think, for me, when I direct my own work it's just an extension of the authorship.

I sat there for a moment and thought about my mom. It was her groans of pain that would get me the most. Sometimes they didn't even sound human. Sometimes she sounded like a cow, and for some weird reason, that made me think about hamburgers and I suddenly realized how starved I was.

It was at that moment that I came to the conclusion that there is some link between plants and loneliness.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

I'm convinced that her obsession with Jesus was far more romantic than spiritual. I think she was actually attracted to him. I sincerely thought that one day while out on a grocery run, she would find some skinny, bearded, out-of-work Foote guy on the side of the road and, convinced that he was our anorexic Son of God, rescue him and head for some unincorporated Christian town in the middle of Illinois with a bingo hall and lots of roadside crucifixes, never to return.

There were grandfather clocks and these things that were sort like half-grandfather clocks, and so many cuckoo clocks I suddenly felt like I was trapped in some weird pop-up book for little kids. It scared me so bad I just about had a stroke. That would have been pretty pathetic to die of a stroke at sixteen. Behind me there was this one particular cuckoo clock that looked about three thousand years old. This thing flew through the clock's doors, and before I even realized what had happened, my hand shot up and broke it off. When I opened my hand, I was holding this totally deformed, premature-looking half chicken. It was maybe the evilest thing I'd ever seen in my life. For some reason I started kind of choking it. Now, I know that's almost serial-killer nuts or whatever, and I'm not asking you to try to understand – I swear I'm not – but that's what I did. I choked the thing between my thumb and forefinger as if my life depended on it.

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 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.

What I've learned in the last few years is that I am merely a storyteller.

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

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.

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.

To do it right, you need three people," he explained. "One to hold em' up. One to pocket the cash. And one to wait in the car. Like the Father, the Son and the Holy Ghost. Hang on a second," he said, cutting himself off. He pulled over to the side of the road, shifted into park, opened the door, leaned his head out and puked. It sounded like he was giving birth through his neck.

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.

I think I'm a little more daunted by when the machinery of the play is really huge.

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.

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.

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.

That's when I started doing the Our Father again. I have no idea why. It just sort of poured out of me. And I recited it way too fast, like there was some sort of creepy priest in the back seat trying to damn me or something. But when I got to the part about the Kingdom, the Power and the Glory, I said the Kingdom, the Power and the Gory. I even repeated the line, knowing that I was making a mistake, but Gory just kept coming out. It felt like someone else was making me say it, which is a pretty frightening situation when you're all alone and you've just hijacked your parents' car.

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. A little beef and bingo at the Nugents'.

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.

I don't like the sort of hierarchical, totalitarian type of room a lot of directors can find themselves in.

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 pictured love as a big hairy giant with a dead fish in his mouth. Grizzly bear claws and his heart half out of his chest cause it's too big and the lungs have to fit. He never stops walking. Over mountains. Through the desert. On top of icy lakes. Past huge cities. And he hunts and kills for you and always comes back with plenty to eat.

I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.

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

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

Fifteen years ago I killed my sister.

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 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.

Love,
Jamie
P.S. I can't believe you're dying. Please don't die.

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.

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.

The house was full of murmuring voices. I could practically feel each room getting choked with the hot breath of other people.

You can always count on the New York Times to cut your legs off.

I appreciate good criticism and I think it's really important. I don't like it when it's consumer advocacy, like how you should spend your $60. Great criticism is a kind of literature. I've written some criticism, and I really enjoy it because I think it's important for people to know that theatre is vital. Criticism is really unevenly distributed in this town. Obviously the power of the Times is discouraging. It's killing new plays, demolishing one after another.

I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter.

Once I looked over at Welton and he was wiping his nose. I couldn't tell if he was crying or on nasal spray.

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.

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.

My dad smelled sort of like mustard, which is probably due to the fact that in the bed I also discovered a thing of Hellmann's. I wanted to grab it and squirt it in his eyes, but I couldn't reach it.

The room I got is best described as being a glorified closet. It was like four times worse than what they gave you here at Burnstone Grove. The twin bed looked like some little kid had died on it. It was made up with these totally sad, urine-yellow sheets, a moth eaten comforter, and a pillow that was about as fluffy as a folded dishrag. The mattress was lumpy and smelled like pets and weather.