A Quote by Bill Burr

When I was coming up the DC Improv was considered the best Improv out there. It's always been high quality stuff coming out of there. — © Bill Burr
When I was coming up the DC Improv was considered the best Improv out there. It's always been high quality stuff coming out of there.
I was on the improv team in high school, and after I graduated, I joined an improv company that had been established 10 years prior to me getting there. They did longform improv, and I fell in love with it. It's acting, character creation, collaborative, artistic expression and comedy - and it's scary. It was a big rush.
The biggest thing that comes out of improv that gets built on is just character traits. You know, for me the singing was born out of improv.
I had been on this improv team at this really great improv theater. It's called iO now. It used to be called Improv Olympic. They have showcases for Lorne Michaels and other writers and people who work at 'SNL' usually about once a year, although I don't know if it always happens.
I had a teacher who recommended I take improv classes in Chicago - I'm from Evanston, Illinois - so I did improv classes at Improv Olympic, and that kind of opened me up.
Improv is more than just spitting out a bunch of funny stuff that's unrelated to the material. You have to stay in character, you have to react and respond as the character you're trying to play. You have to service the story, and I think improv training has helped with my listening, responding, and my audition technique. It's sounds so silly, but it's true. Because not only do you improvise during the audition, but once you get the part, they'll say, "Throw away everything. Just improv this scene. Do whatever you want." Someone could panic if they're not used to doing something like that.
I'm not a stand-up comedian. I'm not an improv person or anything, but I've always been a fan of that stuff.
Some of the best stuff in all my movies has been improv.
There's different kinds of improv. There's Second City improv where you try to slowly build a nice sketch. There's stuff you do in college coffee houses where you just go joke, joke, joke. Bring another funny character with a funny hat on his head. Christopher Guest is more the line of trying to get a story out.
I took an improv class in 2005 in Chicago at ComedySportz, which was short-form, more of a games-based improv. I remember it being real fun and helping with my stand-up. If I did an improv class, and then I did stand-up later, I felt looser on stage and more comfortable.
I love improv-ing, you know, from very early on when I started acting the school that I went to and everything was very big on ad-libbing and improv-ing and messing things up, so I feel very comfortable doing stuff like that.
I'm an improviser. I came up doing improv at the U.C.B. Theater in New York for seven years. That's where I started, so improv is what I love.
I did improv for about 10 years professionally, and before that, I had done it in high school as part of an improv team. It was definitely a big part of my upbringing.
We live in a time where improv is king and people love improv, and I think there's a time and a place for that and people who are really good at structuring improv.
I think sometimes when people start doing improv there's some regression towards trying to replicate the "good" improvisers that they've read about in their improv books or heard about from their teachers. That's understandable, because they're trying to learn technique and stuff, but I actually think that my favorite performers are ones who have unique improv technique but also have a unique point of view that you can feel with them and their performances.
My rule of thumb is to always do what's on the page first. Then you can talk to your director about playing with it. Improv frees me up in a character, but I would be mortified if the writers who agonized over their words assumed I thought my improv was more valuable.
I think it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.
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