A Quote by Michael Snow

There is really not that much improvisation in my films. There is an acceptance of a chance. — © Michael Snow
There is really not that much improvisation in my films. There is an acceptance of a chance.
Sometimes people that are very good at improvisation in life, meaning like stage improvisation, aren't good in films because you have to ultimately take a scene where it needs to go. It's not about just saying something that's funny. You can say something funny but if it's not on story or driving the scene to its end it's really not very helpful at all.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
A lot of improvisation ends up being about just thinking outside of the box in the scene. It's not improvisation as much as it is quickness or making it real.
Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
Growing up, I didn't have a chance to watch a lot of films. It wasn't until my teen years that I had to chance to see the classic films.
I feel like I hadn't given that many classic films, like, a really good chance. I watched 'Casablanca' a really long time ago when I was like, 12. I didn't like it that much, and then when I saw it again in class, I loved it.
And more than anything, I like the improvisation of jazz. That's the same thing with DJ-ing. There's so much improvisation you can do with cuttin' and scratchin' that's reminiscent of jazz music, because it's all about how you feel. You're capturing a vibe and just going with it.
Improvisation is too good to leave to chance.
Fortunately, I got critic and audience acceptance much earlier than industry acceptance.
Life is so largely controlled by chance that its conduct can be but a perpetual improvisation.
I like films that are well-written and concise and with not a lot of room for improvisation.
The period from 2001 to 2005 was really tough. My films were not working even though there was an acceptance of a model. I was depressed but did not cry. I cry when I am happy.
I would make a huge distinction between theater improvisation and film improvisation.
'Acceptance' is a tricky word. Acceptance about what life is bringing us in a spiritual sense is one thing; but acceptance when there's injustice in the world is completely another.
To write a book about improvisation is partly a contradiction in terms. Improvisation is spontaneous. It's in the moment.
I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.
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