A Quote by Bill Hader
Yeah, improvising only really works 100% when you're with somebody.
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A puppet that starts to improvise badly is almost funnier than the puppet that's improvising well. So the show gets better when the improvising is really good, but also the show can also sometimes get better when the improvising sort of goes a little wrong and that's sort of a blessing to improvising with puppets.
Sometimes you have to kind of keep proving that you're improvising. That's the game, or the goal, of long-form TV improv, is that you have to kind of keep reminding and showing people that you're improvising, because they won't believe you really.
I hold that we have a very imperfect knowledge of the works of nature till we view them as works of God,— not only as works of mechanism, but works of intelligence, not only as under laws, but under a Lawgiver, wise and good.
It's really helpful to have somebody to bounce off of and that will say, 'Yeah, that's a horrible idea. You shouldn't do it.'
Somebody told me about a band that works out their whole set as if it was one song. They learn the whole set as one piece, so they know how the dynamics of it work. It's really difficult to do, and you can only really do it while you're on tour, as being in a rehearsal studio is not the same as being on stage in front of an audience.
I do craft songs, that this is designed. It's almost like the song was written to produce this desired effect. And it probably really works for somebody. It's maybe somebody's favorite tune, and it's really hard to come down on that, even if I feel a little embarrassed for it. Because some songs are written like a commercial, and that can be a little strange.
Nepotism is despised in England, which is a very good thing. I think something to do with the class system. People really look down on nepotism. So yeah, it never really works in your favor - even in this industry.
Improvising is wonderful. But, the thing is that you cannot improvise unless you know exactly what you're doing. That's a kind of paradoxical thing about improvising.
If your songs connect with the fans and they pump their fists in the air and go "Yeah!!" that's when a song really works. That's the electric church of it. The glory hallelujah of it.
People think they want to know how magic works, but really they don't. How it works is never as amazing as what the trick was in the first place, so it's never going to make you feel good. Somebody just wanting to know how a trick works is never enough to make me want to tell them.
I am so envious of my colleagues from 100 years ago who only sang new works, they hardly ever sang revivals.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
To the winner, there is 100-percent elation, 100-percent fun, 100-percent laughter; and yet the only thing left to the loser is resolution and determination.
There's only one thing that's kind of hard about being a wife or a girlfriend of somebody in this business. It's that really the only people that you really know are musicians.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
When you make a book or you make a movie, it is almost like hitting on somebody. It's not because you want to seduce people that you will seduce them; you can hit on somebody and it doesn't work. But when you hit on them and it works, then it's really cool.
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