A Quote by Patti Harrison

Coming out of 'Shrill,' depending on who's directing, they'll let you ad lib sometimes, you can pitch ideas if you have them. — © Patti Harrison
Coming out of 'Shrill,' depending on who's directing, they'll let you ad lib sometimes, you can pitch ideas if you have them.
I'm not an ad-libber. If I'm asked to ad-lib, I can ad-lib forever and it's really fun to do that, but I find that well-written scripts are put together very carefully. Once you start to ad-lib and add words to sentences, there's a slacking that happens. When it's good writing, it's taut. I'm not judging people who do ad-lib.
Generally, there's a lot of ad-lib involved with live TV and things like that, whereas with acting in front of the camera, it was, if you screwed up a line, well, you've got another take, and you also had a script to be able to study, so it wasn't all ad-lib and flying by the seat of your pants, which I like both aspects, actually.
Honestly, I think we in the WWE are very underrated as performers. What we do would be very difficult for even an experienced actor. To go out and sometimes have 15 minutes of verbiage, sometimes have to ad-lib and then, of course, have other variables such as the interaction with the audience, it can be challenging.
The word got out that I can ad-lib very well.
Sometimes I try to improve the language, the lines, or the delivery, but I don't ad-lib because I think that makes it really hard for everybody else involved.
The pledge drive has everything going against it as broadcasting. It's repetitive. It's ad-libbed by people who can't ad-lib. It's about asking for money, which is something nobody wants to hear, even from their own relatives.
I'm interested in finding sounds and ideas that help bring the audience into the world that we [moviemakes] are all trying to create. Sometimes that's with synthesizers, and sometimes that's with French horns. I love using all of them, depending on the scenario.
We'd dub the one that came off best into the final transcription. It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
I can't ad-lib, or not for long.
We don't usually start out with a plot that we can pitch in two lines. We spend a year brainstorming and discussing ideas that are sometimes of a visual nature, sometimes just about characters and then we try to structure the story.
I used to go into rooms of older executives and try to pitch talk show ideas and when I was writing as a journalist I would pitch ideas for my articles and I definitely understand that excitement of a pitch and what that is to be young and a woman and trying to make your voice heard.
I'm a news junkie. I generally ad lib it. I find a story I want to key off on, open the mic, drag it in the Dropbox, and they pull it out the next morning.
Darkwing Duck and Don Karnage are the most fun to do, because they're both probably the closest to me - I kinda improvise a lot of them, kinda ad lib.
I ad lib. I've gotta bring my own into it.
I don't know why people think I'm this ad-lib dude.
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