Pace, rhythm and timing. Pace, rhythm and timing is what it's about. The content's got to be great, but then it's got to be delivered. It's a tricky thing to do, and it takes a lot of work.
People tell me I'm a comedian, but I don't approach acting from that perspective. I do know that everything in life has to do with your timing and perception. You have to be comfortable with the rhythm that you're in. You can't just jump into a fast rhythm if yours is slow. You might have to pick up the pace but in your own particular way. It has to do with personality, too.
Timing is so important! If you are going to be successful in dance, you must be able to respond to rhythm and timing. It's the same in the Spirit. People who don't understand God's timing can become spiritually spastic, trying to make the right things happen at the wrong time. They don't get His rhythm - and everyone can tell they are out of step. They birth things prematurely, threatening the very lives of their God-given dreams.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
Samba rhythm is a great one to sing on, but it's also got some other suggestions in it, an undercurrent of being primitive - because it is a primitive African, South American, Afro-whatever-you-call-that rhythm. So to white people, it has a very sinister thing about it.
You've got the same rhythm every day just to keep you going. So once that rhythm is broken, it's kind of hard to get back with it when you got a lot of things going on.
Well, I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it. And the riffs are about timing.
It's about timing and rhythm. But who could be better than Chaplin or Keaton?
Offense is about rhythm and timing, and you're not going to always have that every game.
As a film director and as film actors, you get used to a certain rhythm that's slow. But with TV, it's hurry, hurry, hurry, hurry, hurry. It's a different pace. So, it's about adjusting to the pace. It's not meant for everybody.
Amy Sherman-Palladino is very funny. She's got just natural timing and comedic instinct. And she writes in a comedic rhythm.
You do a straight play for three months, four months, maybe. It's so brief. And then you're on to the next thing. I loved that. I love that rhythm and that pace.
There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished.
The buzzer timing is so important and when you get into a rhythm like that - to go back to baseball you'll hear hitters on a hot streak say that the ball looks like a beach ball -and when you have the timing on the buzzer and you're just getting in whenever you want, that seems to sort of snowball.
Drama is this incredibly vulnerable thing, but with comedy, you have to have a sense of rhythm and be very sensitive to the pace of things.
Rhythm and timing are so important in comedic acting.
I need to work on timing and the pace of the game. I need to know when to slow it down and speed it up.