A Quote by Marjane Satrapi

I'm very open and never write what I'm going to say. Speeches bore everybody else. I have to freestyle. Every time, from one program to another, everything changes and I improvise.
When you become a top player, you think that nothing else and nobody else matters. You can tell everybody on earth, 'Listen, I'm playing tennis, I don't have time for you. I'm in the semifinals of the U.S. Open, screw everybody and everything else.'
It's a job. Get up and do it every day. Show up. Don't say no. Taylor Swift was the third write of my day every week. If I had gone home or said “Ah, man. I'm tired today. I'm not going to write at 4 o'clock in the afternoon with a teenager.' If I had done that, just think. Keep an open mind. Everybody has something to come into the room with and when you're starting out, try everything. You might find your magical writing partner.
When authors who write literary fiction begin to write screenplays, everybody assumes that's the end. Here's another who's never going to write well again.
When I was coming up, a freestyle wasn't a freestyle unless everything was completely improvised, in-the-moment and right there, and you had to incorporate various elements of what was going on in the room on the day.
The poet's first rule must be never to bore his readers; and his best way of keeping this rule is never to bore himself-which, of course, means to write only when he has something urgent to say.
I read an interview with a Japanese freestyle jazz musician once, and he said something like, "Everything I'm going to tell you is not going to be true." He's not saying, "I'm trying to lie to you." But he's kind of saying that you can never say what something really is.
There are certain things in the scripts that need to be planned: you know, big stunt sequences, battle sequences... you can't improvise that stuff. You can improvise when there's just two of you standing in a kitchen and the most dramatic thing that's going to happen is someone's going to open the fridge.
When we first started playing we did a lot of rehearsing. We used to write out everything. In fact, that's the way everybody rehearses: we play the tunes and improvise.
...if anything matters then everything matters. Because you are important, everything you do is important. Every time you forgive, the universe changes; every time you reach out and touch a heart or a life, the world changes; with every kindness and service, seen or unseen, my purposes are accomplished and nothing will be the same again.
If you just freestyle, everybody is gonna go, 'Freestyle.'
I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.
I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.
It's more than you think it can be," she heard herself say. "It changes everything, and fixes everything that matters. Maybe you're never going to be the same, and maybe part of you is always afraid of what will happen if...but he's always going to be there. All you have to do is reach out, and he's going to be there.
I'm a people pleaser by nature, and I want to make everybody happy. But at the same time, it's not fulfilling to make everybody happy. What's fulfilling is to stand for something that's right. Now that doesn't mean you're going to be perfect. We're going to fall and we're going to mess up every day, but we can at least try to stand for something. When you stand for something, then you won't fall for everything else around you.
I think that the revolution in music is over, and what's left is a mop-up action. It's a matter of the news getting out to everybody else. I think that the important changes have already happened, changes in consciousness. It's mostly a matter of everything else catching up to that. Everything is traditionally slow - much faster than it ever has been on earth but still far, far too slow.
Acting is constricted because you have the lines. But I improvise with it and what I learn on the set. I improvise rhythms and just changes.
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