A Quote by Jennifer Lopez
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.
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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 do feel like my improv training has helped me throughout my entire audition process only because the idea of 'yes and-ing' applies to everything.
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.
When I started DJ'ing, it was no big thing. There was no money in DJ'ing, and you did it purely for the love of playing music.
I went to a French immersion school, and French-Canadian improv is a big thing, and we had an improv team at school, and 12 of us would get up and make things up against other elementary schools. I'd always wanted to perform, and that was just another extension of it.
Thought creates things by slicing up reality into small bits that it can easily grasp. Thus when you are think-ing you are thing-ing. Thought does not report things, it distorts reality to create things, and as Bergson noted, "In so doing it allows what is the very essence of the real to escape." Thus to the extent we actually imagine a world of discrete and separate things, conceptions have become perceptions, and we have in this manner populated our universe with nothing but ghosts.
I always grew up around acting. I did commercials as a kid and all that kind of stuff and my oldest brother did theatre in High School. It's funny, when I was 15 I had a friend of mine who dragged me away to a camp at Boston University. It was the first time truthfully that acting didn't feel presentational; it felt very personal. I didn't just feel like I was singing and dancing for my friends in High School. It felt like I was doing a scene and all of a sudden I started to feeling something - I started to feel emotional.
I think it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.
The hardest part about improv is getting the audience to relax and enjoy themselves, because most improv is not very good, and the audience is nervous for the performers the whole time. Not that they don't even like the show, but they feel bad for the performers.
I can rap. Not openly in the world, but it's important that people know! I can rap for a very specific reason, which is that in college I was in an improv comedy group, and we did musical improv.
I acted out a lot. I was very nerdy. I was very isolated, which I made up for by kind of talking and trying to entertain people and get them to like me, so I did theatre and improv in high school and college, but always as a hobby.
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.
The fate of the African continent does not f-ing depend on a load of f-ing musicians in Hyde Park singing f-ing s-t songs to kids.
I was kind of in an experimental phase with The Disposable Rappers. This is boring to me, because it's true, but when I was a sophomore in high school, I visited my sister in college and saw an improv troupe, and that was a genuine moment for me. It was an actual "Aha!" moment. After I saw that, I said, "I want to do comedy." So The Disposable Rappers started doing improv in addition to rapping, and when I went to college, I very specifically went saying "I want to join a comedy group."
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.
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.
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