A Quote by Paul Simon
Improvisation is too good to leave to chance.
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Most of my music is improvisation, and composition is improvisation. Even if I have a score, it is improvisation.
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.
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.
To know that there's a good chance that this is something that could potentially be around well after I leave this planet... it's a good feeling.
Life is so largely controlled by chance that its conduct can be but a perpetual improvisation.
I don't want to be more famous. I enjoy making movies but I enjoy my private life too. As an actor, to do it once in my lifetime I think would be a good experience. But I'll just leave it to fate. I had a chance to work with Ang Lee because of fate.
Classical stuff takes a lot of rehearsal time and preparation, but with stuff that involves improvisation, you can over-rehearse it and it gets stale. You don't want it to be too comfortable. In fact, a good sound check, a good rehearsal usually means a bad performance.
I'm not too good with packing. I always have every intention of doing it the week before and then leave it until the last moment - but at least I do it myself, I don't leave it to the missus.
Undeniably, the audience for improvisation, good or bad, active or passive, sympathetic or hostile, has a power that no other audience has. It can affect the creation of that which is being witnessed. And perhaps because of that possibility the audience for improvisation has a degree of intimacy with the music that is not achieved in any other situation.
I would make a huge distinction between theater improvisation and film improvisation.
To write a book about improvisation is partly a contradiction in terms. Improvisation is spontaneous. It's in the moment.
Don't leave a 'good time' to chance. Experiences have to be woven with care and planning, like a tapestry.
It's good to give some of the kids a chance for playing time and some confidence. It doesn't do any good to leave starters out there just to beat a team by 60-70 points.
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.
Sometimes I gotta look in the mirror and say, 'Hey, they're still saying you're too fat, but you're here! They gotta take it or leave it.' And in most cases, if they leave it, it's all good because they don't need to be in my space anyway.
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