Zitat des Tages über Improvisation:
I used to go to the Improvisation Comedy Club every night in Times Square. How I didn't get killed in that area either means that 1) God is watching over me or 2) I am so insignificant to God that he didn't bother having me killed.
It ain't about if he knocks a guy out. It's about how he knocks a guy out. It's the style, the improvisation.
Our lives are a sequence of things. When we're alive, they're continuing, just as my words now are an improvisation. So the idea of 30 years is actually quite nebulous. It's impossible to encapsulate it. All you can do is go: 'what next?'
Much of what happens in Love Always is really from overheard conversations in the Russian Tea Room. It's an improvisation of the way certain Hollywood agents think and talk to each other.
As you know from reading many of these Negro writers, we don't deal too much with the discussion of democracy and what it means and how improvisation fits in all that.
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
The music of the Gypsies belongs in the sphere of improvisation rather than in any other, without which it would have no power to exist.
It took me forever, learning improvisation, because I had studied with Lee Strasberg - I dropped out of Chicago and went to his classes in New York for a couple of years, once or twice a week. What I didn't realize was I was learning directing because he wasn't all that good about acting, not for me.
Sometimes it works, sometimes it fails, but that's what we face when we're dealing with improvisation.
Most of my favourite moments in film have been when I've had an opportunity to say something from scratch, something original, whether I jotted down a few lines or it came out in improvisation.
Improvisation is almost like the retarded cousin in the comedy world. We've been trying forever to get improvisation on TV. It's just like stand-up. It's best when it's just left alone. It doesn't translate always on TV. It's best live.
When I got a call to do the voice of Johnny in an episode of 'American Dad' titled 'I Can't Stan You,' it was a great opportunity to be a part of a really funny cutting-edge show on television. I really got into the character, and I was able to do some improvisation, which allowed me to mix in part of my personality into the script.
I allow an area for improvisation because the chemical things actors bring to stories make it not work.
I feel there has to be a certain amount of improvisation as I'm writing, which means any idea or any commitment to a project is risky. It involves time; it involves gathering of material, and sometimes it just doesn't work. Sometimes it does. As I'm starting out on a project, I can't tell if it will click or not.
You know, when cameras are rolling, improvisation doesn't feel natural. The pressure is too great. You're on a time schedule. You've got 60 crewmen.
I've always been interested in shaping music in odd ways, with odd riffs and that's been probably something that I've continued on with my studies with improvisation as I'm working with people.
Working with animals forces an actor to work harder because you have to be quick when it comes to improvisation, and you can't break character - at all.
I think improvisation is a technique and a tool. I think that even the best of them fail most of the time, and in the end, the audience is not interested in how you got there but in what you're saying. The more clearly and concisely and artistically you say it, the more effective it is.
Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.
Improvisation is terribly haphazard.
Out of 30 years of Second City I was probably the third African-American with the main stage cast. I was surprised when I first heard that. I think part of the reason that improvisation has never been popular with African-Americans is that it isn't popular in the inner cities.
What all my years in improvisation taught is that - if you're going to grow as a performer - you have to try some new things. You've got to be willing to take a few risks.
I allow a lot of room for improvisation and funny stuff. I always feel planned.
All of the material for 'The Fine Line' was created via improvisation with my partner, but not in front of an audience. We'd continue to refine it in front of an audience based on their responses until it was set and scripted.
There was a lot of improvisation on 'Step Brothers.' I remember it being really frightening, and it took me a long time to get used to it and grow to be able to hold my own. But I remember when it was done feeling like, 'I don't know if I ever want to go back to working another way.'
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
There's nothing that makes you so aware of the improvisation of human existence as a song unfinished. Or an old address book.
There's always some room for improvisation.
As I get older, I'm trying to accept improvisation into my day-to-day living.
There are editing procedures for talks just as there are editing procedures in jazz improvisation.
To create characters, one must build background. And one of the tools we use is improvisation.
I can't speak American dog very well. There was a lot of improvisation with Uggie - like when I put the dog on the table or sometimes I follow him, sometimes he follows me. I had a lot of treats in my pocket. We worked with Omar Von Muller, the dog trainer. It was very easy because it was a big movie.
I hated improvisation because in my early days as an actor, improvisation meant somebody had just come down from Oxford and they were doing a play above a pub in Kentish Town, and the biggest ego would win.
I continued studying by myself in the field of jazz with my own technique of improvisation, walking bass lines, rhythms, all kinds of stuff, which I created for myself.
I wanted to look at the mentality that can breed that sort of intensity, that kind of cutthroat, pressure-cooker feeling, especially a form of music like jazz, that should be - or you'd think should be - all about liberation and improvisation and everything.
I love improvisation.