It ain't about if he knocks a guy out. It's about how he knocks a guy out. It's the style, the improvisation.
As any jazz musician knows, it takes flexibility and adaptability for improvisation to create beauty.
...a disgruntled reflection on my own life as a sort of desperate improvisation in which I was constantly trying to make something coherent from conflicting elements to fit rapidly changing settings.
When you want to have entertainment, it must be a waste of time. I don't like that. I don't like improvisation being pointless.
General improvisations often give actors an insight beyond their words by helping them to 'see the word' and achieve a reality for the scene.
I have this habit of asking 'why do you want to do it?' and then interrupting them to say, 'here's why you want to do it.' Because it's in the 'yes...and' spirit [rule of improvisation].
Improvisation has never been my strong point.
It may seem like improv because it flows quite naturally, and a little bit of leeway for improvisation is good, but you have to be judicious with it. So it's good, but sometimes people deify it. You can't improvise your way out of a paper hat.
I never know what it's going to look like. Wouldn't be much point in painting if I already knew the outcome. I have a subject in front of me and I start flooding colour and making marks, I don't know, it's improvisation isn't it?
What an actor says is much, much less important than a life, so that's the great use for improvisation; you go, you find the life and then you add the words.
For me, improvisation is about working with a partner. That is much easier to do in the interview, because you have a sounding board.
Improvisation was the blood and bone of jazz, and in the classic, New Orleans jazz it was collective improvisation in which each performer, seemingly going his own melodic way, played in harmony, dissonance, or counterpoint with the improvisations of his colleagues. Quite unlike ragtime, which was written down in many cases by its composers and could be repeated note for note (if not expression for expression) by others, jazz was a performer's not a composer's art.
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.
I am not a fan of improvisation, because it bores me. Working off a tight scenario gives you the confidence and ability to - why don't we change this a little bit and bring it back to the script. You always discover things while shooting.
I think I'm going to venture into the futuristic, semi sci-fi love story land, but still in my style of improvisation.
I do love improvisation, I love when I find an object in my studio or kitchen (look, a tea sample's tiny glass jar!) and instantly incorporate it in a project. It makes me feel creative on an every day basis.
I think of myself as a jazz player, and my music as a natural extension of the jazz tradition. What I'm doing is completely free improvisation ('composing in real time') with nothing predetermined. I've had a lot of experience playing many different kinds of music and several different instruments, and since I tend not to waste anything, it all shows up somewhere in the music I'm playing now.
Legislation is a matter of more or less intelligent improvisation aiming at palliating conditions by means of patchwork policies.
Improvisation is risky. I like that. Another practical reason for that is that you have to go out and play every day on a tour. I couldn't do it if I thought I was going to do the same songs every day in the same order, like a full-on robot.
Improvisation has been with me since I was a kid, and, taking a selfish pleasure from that, I just thought, "What the hell. It might as well be something other people enjoy."
Most of my comedy writing happens through improvisation on stage; doing it in the moment. Going up with an idea and fleshing it out over time on stage and in front of people until it becomes a full bit.
I've never been a big fan of improvisation, because I think you appreciate the process and the cleverness of it more than the actual comedy in most cases.
Music to me is spontaneous, writing is spontaneous and it's all based on not trying to do it. From beginning to end, whether it's writing a song, or playing guitar, or a particular chord sequence, or blowing a horn, it's based on improvisation and spontaneity.
We would do improvisation together. And that in a way, had almost a "student-film side" where we'd be sitting there with Robert Downey and Jon Favreau and we're playing around, we're jamming around and we read those pages and in next couple of days that's what we do, so it was a good experience. Kind of frightening at first because you didn't quite know how it was going to work out, but they had some very talented people there so it worked out well.
When you start to kind of immerse yourself in that improvisation culture, you gotta be comfortable enough with your instrument to throw yourself into a really potentially dangerous situation.
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