A Quote by Henry Rollins

I'm not much of an improv guy. That's a talent I don't have. — © Henry Rollins
I'm not much of an improv guy. That's a talent I don't have.
I was the cocktail waitress, and Sandra Bullock was the host, and this guy came in and persuaded me to try improv with Gotham City Improv.
When your set is led by a great guy and visionary like Director Tim Miler and a true superstar talent like Reynolds who's so easy to connect and improv with it allows it to be a lot of fun along the way.
It's so much harder to make a living off improv. Improv is so rarified and for such a specific audience.
I put so much energy into with improv. You can only perform it at a place where people are, essentially, taking improv classes so that they just appreciate what's happening.
Very rarely do I talk off the top of my head on stage. I'm not an improv guy. I'm a writer-guy who presents what he's written.
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.
I'm all about talent. I love talent and I want to work with as much great talent as possible. My job as editor in chief is making the most of everybody's talent and pulling that together into a format that's even better than an individual.
I'm not an improv guy.
I think in the inception and creation of the characters, improv was the most important part for me, because I wanted to feel at home in those characters. I wanted to feel like I could commit to them. And so much of improv is saying yes and committing, so I think that's where the improv came in. Even if I'm saying yes to the X across the room from me, or the tennis ball on a stick, I have to stay alive.
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 it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.
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.
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'm not an improv guy. I'm not a nerd, I play one on television.
I absolutely loved improv! I felt very much at home being onstage. It freed me to be all sorts of people other than myself. It was an escape from myself, if you will. I still love that creative freedom of improv and making people laugh.
I think with improv - and I say it all the time because it's become such a catch thing that you talk about improv - if the scene is well-written, you don't need to improv. But that being said, if something strikes you in the moment and, most importantly, you know where the scene is supposed to go, it's no different than method acting.
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