A Quote by Chris Gethard

To a crowd that loves improv, Robin Williams is like Chuck Berry. — © Chris Gethard
To a crowd that loves improv, Robin Williams is like Chuck Berry.
We would not have rock and roll without Chuck Berry, and when I first heard Chuck Berry, I fell in love with that music, and when I saw him, I changed my whole career trajectory that I was on as a kid.
Mork, played by Robin Williams, was my introduction to improv, and my first real peek behind the curtain of television production; I had seen Williams riffing on 'The Tonight Show' and soon put it together that certain scenes with Mork were not scripted.
My favorite actors are Jim Carrey and Chris Farley, Tom Hanks, Robin Williams. Robin Williams is the best - to be able to do all that comedy but also be heartbreaking.
I remember once they sent me over to read for a show called 'Mork and Mindy.' I heard gales of laughter, then Robin Williams walked out. I had to follow Robin Williams.
Over the years, I've come to realize that writing 'I Ain't Living Long Like This' was an exercise in combined musical influence, mostly that of Hank Williams, Chuck Berry, Elvis Presley, Jerry Lee Lewis, the Beatles, and Bob Dylan - artists no one has ever heard of.
This is no condemnation of Chuck Berry, who I greatly admire. But Chuck Berry's music will not translate as well to orchestration because of its very three-chord rock 'n' roll nature. It is the music of the artists that are more pretentious, pompous or closer to the kind of big dramatic stylings that orchestras are good with.
There would be no Rock and Roll without Ike Turner, James Brown, Chuck Berry, Fats Domino, Allen Toussaint, etc. Fake ghetto books and fake ghetto music. Elvis Presley, whom they idol, is merely a karaoke makeover of James Brown and Chuck Berry.
When I go back to seek inspiration - whether it be from Chuck Berry, Howlin' Wolf, the Beatles, Hank Williams, Ray Charles or Bob Dylan - it's from the performance. Those artists are in the studio playing their instrument and singing. There's no going back and redoing the vocals.
When I worked with Robin Williams, now there is improv! He is just as funny as you think he is. We did at least five or six takes of every scene, improvising every scene differently. He was a riot.
I said if you want to be Keith Richards, you've got to listen to Bo Diddley and Chuck Berry. Then I thought, "What did Bo Diddley and Chuck Berry listen to?" I said, "They listened to Howlin' Wolf and Muddy Waters." Well who'd they listen to? They listened to Robert Johnson. I said, "Ok, we'll start with that."
When I started, all I wanted to do was play like Chuck (Berry)
Creating a dance is like coming up with a Chuck Berry riff.
I'm not reinventing the wheel here. I'm not Chuck Berry or Bill Monroe. Guys like that are from outer space.
Those original, black, spirited, defiant, rebellious musical masters. Chuck Berry was one of the first masters of Les Paul's new electric guitar; he pretty much laid down the gauntlet, and I don't think anybody's ever beat him since. Way before the British Invasion, I was tuned into the black guys that created the British Invasion. Without Howlin' Wolf, Muddy Waters, Robert Johnson, Lightnin' Hopkins, Bo Diddley, Chuck Berry and the Motown hits, there would be no Beatles.
Robin Williams was an airman, a doctor, a genie, a nanny, a president, a professor, a bangarang Peter Pan, and everything in between. But he was one of a kind. He arrived in our lives as an alien - but he ended up touching every element of the human spirit. He made us laugh. He made us cry. He gave his immeasurable talent freely and generously to those who needed it most - from our troops stationed abroad to the marginalized on our own streets. The Obama family offers our condolences to Robin’s family, his friends, and everyone who found their voice and their verse thanks to Robin Williams.
Berry's On Top is probably my favorite record of all time; it defines rock and roll. A lot of people have done Chuck Berry songs, but to get that feel is really hard. It's the rock and roll thing-the push-pull and the rhythm of it.
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