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].
Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual. But in "Iron Man" it was kind of like both worlds colliding because there was a lot of improvisation, not that we improv-ed in the scenes but to discover the actual scenes themselves.
I used to think that running an organization was equivalent to conducting a symphony orchestra. But I don't think that's quite it; it's more like jazz. There is more improvisation.
Most of my comedy writing happens through improvisation on stage; doing it in the moment.
My gigs are built on improvisation: I go out there and I'm like the Energizer bunny.
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.
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?
When I create I don't think in technical or mathematical terms until the idea is formulated Musical composition is formulated in improvisation. Once a pianist like myself sits down and begins to play and start thinking about what I am writing all of a sudden a little tune will emerge, a little spot light and I'll go, "That's interesting."
I think I'm going to venture into the futuristic, semi sci-fi love story land, but still in my style of improvisation.
Improvisation is empowering because it welcomes the unknown. And since what's impossible is always unknown, it allows me to believe I can cheat the impossible.
Legislation is a matter of more or less intelligent improvisation aiming at palliating conditions by means of patchwork policies.
I honestly would tell anyone young to start looking at stories and learning story, because I think that’s the next step after people go, ‘OK, I’ve had enough of that improvisation, I’ve had enough of those short comedy bits. Tell me a story, tell me a more complex story, something that lasts and maybe has a little more meaning to it.’ Don’t ever look at what’s happening now; look at what’s coming next.
I continued studying by myself in the field of jazz with my own technique of improvisation, walking bass lines, rhythms, all kinds of stuff, which I created for myself.
I started improvisation at age nine, and I loved it so much I stuck with it. As a by-product, acting was just something I was lucky enough to fall into.
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
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.
As far as I'm concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
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.
Improvisation has never been my strong point.
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