Everyone asks me if piano had helped me in football. I guess improvisation and creativity helps on the field, but that's a reach. The two skills are just so different. And, by the way, I get more nervous playing piano.
I want the music to be heard as close to when I made it, as much as possible. I don't want to get into some "future of the music industry" thing, or where I stand on digital this or that, but I think it's ridiculous that a lot of people in the industry plan so far ahead that it makes a lot of improvisation impossible and makes a lot of people's expectations fixed and not fluid.
Anything I do, I learn about first. I am not in favour of improvisation; I believe in work and in learning
As a director and an actor, I encourage improvisation but in character and in the moment of what it is.
Having been an actor, I always want to leave room for the actors to find their comfort zone, so I don't like to be too rigid in how I plan my shots. It's different if you have weeks to rehearse and you can rehearse on your sets or in your locations and you can plan that out with your actors, but in modern independent filmmaking, you don't really have that time. You have to have a certain level of improvisation.
I don't think I differentiate between composition and improvisation. Improvisation could be a large part of a composition.
All the decisive blows are struck left-handed.
What all my years in improvisation taught is that - if you're going to grow as a performer - you have to try some new things. You've got to be willing to take a few risks.
I knew Steve Carell because of Little Miss Sunshine, so I felt very comfortable with him. Maybe he always does it to guest stars, but I felt as though he was being particularly funny with me, and particularly stretching the boundaries of improvisation. He's such a comic genius. I hate to use that word, because everyone throws it around, but Steve Carell is channeling something.
I think improvisation is really crucial in terms of making things feel real and authentic.
I'm a big fan of improvisation but I can't say that I'm great at it.
Michael Ian Black wears many hats. He's a stand-up comedian, a comedic actor, he's now a writer-director so he knew how to work with all of us. And furthermore, because so much of his career is based on improvisation he gave us the freedom to do that as well.
It's not like that because the improvisation makes it automatically democratic. No one's leading anything. I didn't have to worry about anyone feeling involved. It was just the most natural, easy process of making music.
Louis Armstrong is the master of the jazz solo. He became the beacon, the light in the tower, that helped the rest of us navigate the tricky waters of jazz improvisation.
When I was younger, I did work with coach. I went to this place called Actors Space in the Valley. I was pretty young, and we were doing acting and improvisation. But no, no I didn't go to RADA, I didn't do that. But I do now work with an acting coach, primarily for the initial intellectual connection to the material.
A lot of people inspire me. I'm a huge movie buff. From studying and watching movies, over and over again, directly influential are Terrence Malik and his naturalism, Robert Altman and his exploration of improvisation, and Judd Apatow, in terms of his comedic process.
I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.
I've always been interested in shaping music in odd ways, with odd riffs and that's been probably something that I've continued on with my studies with improvisation as I'm working with people.
People have their own interests and they want to play a certain kind of music. People want to play in orchestras. They want to play on Broadway. Those that want to play traditional jazz and have no interests in the ideas of improvisation. So in spit of the fact that there are fifty violin players, you might only narrow it down to ten and within those ten, there might only be three who have the right kind of background and credentials to deal with what you need to deal with. Everybody's got their own special thing that they are after and a lot of times you don't have time to be training people.
Within the context of Western music, jazz has always contained certain radical or revolutionary aspects. These are: improvisation, collective composition and individuality or the personal sound (based on amazing variations in sonority, timbre and pitch).
In comedy, my strengths are improvisation.
Jazz is the music of the body. The breath comes through brass. It is the body's breath, and the strings' wails and moans are echoes of the body's music. It is the body's vibrations which ripple from the fingers. And the mystery of the withheld theme, known to jazz musicians alone, is like the mystery of our secret life. We give to others only peripheral improvisations.
I'm no longer beholden to the sacredness of the recorded song as some kind of ultimate standard by which every performance of the song is measured. I like to diversify, that there are multiple versions of every song. And the songs incorporate a lot of improvisation, and an element of chance, and I think that's exciting. There's no one true formulation of a song, they have various manifestations depending on the space we're in. I like that.
Most of the musicians that I'm playing with now have jazz backgrounds, so they're comfortable with improvisation. And they all know to make eye contact with me, and I'll give them some kind of sign when I think that the song's ending. Or maybe I don't even have to, because they all sort of feel it at the same time.
Sometimes it depends on the actor or the actress. Sometimes they demand a lot of rehearsals. Sometimes they don't. Making movies is not like making a play, so I guess you can leave some of the work for improvisation when they do the work.
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