A Quote by W. C. Fields
I ad lib most of my dialogue. If I did remember my lines, it would be too bad for me.
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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.
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.
Legal dialogue is awesome, but you can't ad lib. It's much more fun to be looser and say things like, 'Can I work in a Han Solo reference?' I'm a 'Star Wars' freak.
The average British person would hear me doing my joke about Rebecca Adlington and realise there's no malice in it. It was an off-the-cuff ad lib.
I don't worry too much about the script, I just ad lib, like Pearl Bailey.
When I went out and did what I did in the world of professional wrestling as Stone Cold Steve Austin, pretty much anything and everything thing I said was ad lib, on the spot, just let it fly and go for it.
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.
No one could ad lib like Peter. You would think that it was all scripted, he was so poetic, but it wasn't.
Can't nobody do what Fetty Wap does. So when I go to the studio, it may be four to five hours max, probably three days out the week. I used to go to the studio for 10 to 15 hours, and I would do five to 10 songs. Now I go for four to five hours and I do, like, 15 to 20 songs. I'm an ad lib guy. Most people know me for my ad libs.
Instead of just purchasing an ad campaign, target test and measure. Give an ad a small try. If the response is enough to pay for the ad, make it larger. With a franchise, ask the most successful franchisees what they did. Ask the bottom five guys what they did and avoid it.
If you're sitting around and doing Chekhov and the cat walks in, you must pay attention to the cat. You cannot continue the dialogue of Chekhov without including the cat. So on live television, we'd automatically go into ad-lib gear.
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.
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.
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