I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
Even if the script's well written there's something about the life of an improvisation that resonates better than a written word, sometimes.
When script is written well, then you start to make decisions of, "Well, do I want to be away from home for that long? Do I like the people involved?" When it's written well, a lot of those things go away and you can't not do it.
I allow a lot of room for improvisation and funny stuff. I always feel planned.
It's not difficult for me to put my feelings into written form. I try to be concise and to go direct to the subject. This is what people like about my work, and what the critics hate.
I like messing up the song, doing some improvisation. And I like running around the room with the mic.
A lot of improvisation ends up being about just thinking outside of the box in the scene. It's not improvisation as much as it is quickness or making it real.
I have enjoyed doing some films as they were well written like 'Andaz Apna Apna,' 'Hera Pheri' and 'Cheeni Kum.' These films were high on the comedy quotient as the characters were creating a comic situation.
Sometimes people that are very good at improvisation in life, meaning like stage improvisation, aren't good in films because you have to ultimately take a scene where it needs to go. It's not about just saying something that's funny. You can say something funny but if it's not on story or driving the scene to its end it's really not very helpful at all.
I've done a lot of Bengali films with heavyweights like Rituparna Ghosh, Buddhadeb Das Gupta and carved my niche with both commercial as well as art films.
I'd love to have written a film and it to be regarded as good. I'd just like to be doing things that are good, really. I think that's all you can aim for. I find it odd when actors say they just want to do films or plays or television. A lot of films aren't very good; a lot of television isn't very good; a lot of plays aren't very good.
It's a very collaborative environment [making The Office]. We always do takes of how it's scripted, but then we also mix it up a lot too. And it's kind of a crapshoot, you never know which one... I mean a lot of time improvisation doesn't go anywhere and it's not good at all but, so what was written is often times better.
Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
Some films do portray women in their 40s well, and some other films don't. Some films are written by women, so maybe there's a little more accuracy there.
I made 'St. Nick' on a 30-page outline. 'Aint' Them Bodies Saints' was a full-bodied script, but it still had a lot of room for improvisation. There were scenes that weren't there on the page - just a sentence saying something happens. I was like, 'We'll figure this out when we shoot it.'
I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.