A Quote by Robert Ben Garant

It's always hard to watch bad actors improv on your skit. — © Robert Ben Garant
It's always hard to watch bad actors improv on your skit.
And I've always loved commercials. I like working out how to organically weave a brand's message into the writing process. It's like an improv show, where comics ask the audience to throw out a word and a skit is built around it.
When improv is bad, it's excruciating to watch, and to be involved with it is a unique type of torture.
Improv requires your audience to be informed about what improv is. With stand-up, anybody can sit down and watch stand-up and laugh at jokes.
There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.
You can't improv off of bad writing. Then you have to actually create your objective, which is really hard to do in an element without the skeleton to go off of.
I love bad movies, whereas going to the theater for me is a painful experience. I think it's really hard to sit and watch actors do something live and have it not go well.
Cutting improvisation is really hard, because things don't match, and you end up with some bad cuts sometimes. But we'd rather have the bad cuts and the great improv.
Every industry, there are rogues and bad actors. There could be rogues and bad actors in journalism. Rogues and bad actors in medicine. Rogues and bad actors in the legal community.
A lot of young actors have the idea that, "I've got to do this right. There's a right way to do this." But there's no right or wrong. There's only good and bad. And "bad" usually happens when you're trying too hard to do it right. There's a very broad spectrum of things that can inhibit you. The most important thing for actors - and not just actors, but everybody - is to feel loose enough to create what you want to create, and be free to try anything. To have choices.
To me, when I watch movies, it's always fun to watch the bad cop or the bad guy.
My rule of thumb is to always do what's on the page first. Then you can talk to your director about playing with it. Improv frees me up in a character, but I would be mortified if the writers who agonized over their words assumed I thought my improv was more valuable.
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.
I have friends who will say, "Oh you gotta come and see our show." And the first thing I say is, "Is it sketch or improv?" I'll go in a minute to see a sketch show. I love sketch; it's my favorite form. But if it's all improv, they're either very good and it's annoying how good they are and it makes you feel bad, or they're not too good then you're sweating for them. And you don't want to sweat for them, see actors repeating each other's lines.
I actually went to the university as a psychology major, and at orientation, they took us around the campus and took us to the theater for a skit. At the end of the skit, I literally could not get up out of my seat.
I always wanted to be a stand-up comedian, even as a kid. Me and my dad would watch 'Evening at the Improv' on A&E.
The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
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