A Quote by Carl Reiner

Improvisation is just writing in front of an audience. — © Carl Reiner
Improvisation is just writing in front of an audience.
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.
The interesting thing about improvisation is you're making something up in front of the audience. Now music helps you out a little bit because you have an instrument that'll separate you from the audience.
Undeniably, the audience for improvisation, good or bad, active or passive, sympathetic or hostile, has a power that no other audience has. It can affect the creation of that which is being witnessed. And perhaps because of that possibility the audience for improvisation has a degree of intimacy with the music that is not achieved in any other situation.
The shortest feedback loop I can think of is doing improvisation in front of an audience.
I've always been drawn to the best writing that I can find. I don't care if it's in movies or theater or whatever - if you want to be in front of an audience, you have to do writing you believe in.
I love performing in front of a live audience and just stepping out in front of ruddy Royal Albert Hall is just something, I can't describe it.
Most of my comedy writing happens through improvisation on stage; doing it in the moment. Going up with an idea and fleshing it out over time on stage and in front of people until it becomes a full bit.
Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
Sometimes you don't know what you've got until you put it in front of an audience - and the enthusiasm for the show from the audience has been just incredible.
Some celebrities, it's interesting, because they're fantastic playing a character when somebody is writing the lines for them, and they're amazing actors, but they're not as comfortable on television in front of a live audience and just having a conversation and being themselves.
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 played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.
If you just want to be a writer, I don't care, for pitching, for writing dialogue, you should take an improvisation class. It's super important.
I'm always shy in front of an audience, so I'm always at the back, in the shadows, just doing it. I don't like the front, the adulation.
Clear writing is universal. People talk about writing down to an audience or writing up to an audience; I think that's nonsense. If you write in a way that is clear, transparent, and elegant, it will reach everyone.
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.
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