A Quote by Matt Besser
You're always starting with a nugget of truth, whether it's a song or an improv scene.
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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.
One thing my old improv teacher taught me is when you're not in the improv scene and you're standing back watching your partners, you ask, 'What does the scene need?'
I always try to find the truth in a situation. That unvarnished, pure nugget of truth at the core of every issue that I write about.
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
Scorsese is a fan of improv and is always pushing actors to think up something that would make the scene more fun. He loves any idea that helps the scene be alive.
I shall give a propagandist reason for starting the war, no matter whether it is plausible or not. The victor will not be asked afterwards whether he told the truth or not. When starting and waging war it is not right that matters, but victory.
Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.
The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song. What do I write about? I never know.
The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song.
I think the improv also helps with the imagination of dealing this person across from me who's not physically there. When you do an improv scene, you're usually working on a blank stage and creating the props and creating the environment.
I often tell my students that you can't worry about the end of an improv scene because the end is not up to you. You just play as hard as you can until someone changes the scene. The scene has changedthe end is not up to us.
There is no such thing as too ordinary to write about, whether that's life or a scene in a novel. What's interesting to people, whether it's memoir or fiction, is the truth.
I don't like working by a monitor. I stand right next to the camera, and I'm very performance-oriented. That really means everything to me, whether it's doing an improv of a joke or an emotional scene, and everything in between.
You can do a whole scene in acting without ever checking in to what the other guy is saying - it's not going to come off great, but you can get through the scene - whereas in improv, that's gonna be impossible.
When I write a story or think of a scene, I always play some song in the background. Sometimes when I don't add a song at the writing stage, I do it while editing the film.
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.
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