A Quote by Vince Vaughn
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.
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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.
The animators are fantastic though. They'll shoot their own reference material, and just go into the car park or something. And they might shoot a very funny scene, or sometimes a serious scene. But they're really just trying to work out the motion. Yet what we get treated to is hilarious video of someone running around a parking lot with a broomstick and a helmet!
Sometimes fake laughing is hard once you’ve done a scene 18 times. I don’t want to brag, but I have a reputation for being very, very good at that. It’s funny finding what’s challenging about acting as you go.
Sometimes fake laughing is hard once you've done a scene 18 times. I don't want to brag, but I have a reputation for being very, very good at that. It's funny finding what's challenging about acting as you go.
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.
Just because we can shoot something that looks like a movie doesn't mean we should. Sometimes if something looks too good, it's not funny. Some things need to look good, because we think it's funny that you'd spend so much time and be so precious about such a stupid idea.
I really, really liked shooting and doing the scene with Emilia Clarke and Peter Dinklage at the end of 'Winds of Winter,' when she gives him the Hand of the Queen. Because we shot it very simply. We felt like we had managed to do something that was visual but really was a very intimate scene between two people.
...a story should be like a roller coaster. That is to say before writing a really cruel scene, I have to lift the people's spirits, for example, with a fun scene... Before writing a scene of pure despair, we must go through scenes of hope. And indeed, when I write, all of this amuses me very much.
In general, I don't even have the luxury of rehearsal time on most films that I make. It is just a scene-by-scene full cast read through. It's very much just doing the rehearsal sometimes the day before, at the end of the day, but just on the spot as the scene unfolds.
You do stuff that gets a reaction and you think 'that's a winner' and then it never sees the light of day. But the thing with improvisation is that 90% of what you come up with won't be used and for good reason. But you keep going for the occasional gem that you might come up with. You do a scene and a lot of the time. We wouldn't cut. So, you come up with something that might be funny and then you go, 'alright, what else'? So, you kind of throw stuff against the wall and see what happens. But you've got to be prepared to make a fool of yourself.
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.
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
I think all good drama is funny. All the best drama is ultimately very funny. Life is funny. You can't have any honest treatise on life without bumping into some humor.
You don't get the pay-off when you're playing a quiet character, so sometimes you want to just throw out all your work and say, "Okay, let me do something really funny or gimmicky, just so that I can get some attention in this scene."
I came in rather late in the casting process of Reaper. I believe they had all the other roles cast. They were having trouble finding the devil. They had seen almost 100 actors for the role. I got the script and I liked it - it was clever and witty and very, very funny, and a nice, fresh take on an old story. I went in and did a scene for the producers, the kitchen scene from the pilot where I'm cooking a chicken-fried steak. At the end of it, they all had a smile on their face, and they realized they had found their devil.
I care about actors, and I understand them in a very personal way. I'm not saying every writer has to do that, but in my case, it's been helpful. I can put myself into the scene and think, 'What would it be like to act this?' Any writer who's really good probably does that to some extent.
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