Quotes About Improvise

the proper posture of the Christian is to improvise rather than simply to perform the

DO IT, THEN FIX IT AS YOU GO.

More of me comes out when I improvise.

No art comes from the conscious mind.

Don't you wish you had a job like mine? All you have to do is think up a certain number of words! Plus, you can repeat words! And they don't even have to be true!

The show must go on, even when it's not the show you expected to be in.

Baseball players practice, runners practice, so how can you practice being funny? You get up onstage. You train as an improviser, playing make-believe, using the vernacular of improvisation, saying 'yes and' to other people's ideas, making statements.

But first we had to get on board Raul's yacht silently and alive, and to do that we had to approach it without being seen. So far, we had come up with no way to do that, other than go-take-a-look-and-see-what's-what. If it had been up to me, this casual plan of attack would not have been plan B—not even C. I don't like to improvise. When I slide out into the night for the purpose of making Mischief, I need to have a plan, and I need to stick with it. Beginning

Once again, I had the sensation that everyone else was working off a fully rehearsed script, and I was being asked to improvise. "I just meant—nothing," I said, hoping for a clue on what my line was supposed to be.

Stargirl began to improvise. She flung her arms to a make-believe crowd like a celebrity on parade. She waggled her fingers at the stars. She churned her fists like an egg-beater. Every action echoed down the line behind her. The three hops of the bunny became three struts of a vaudeville vamp. Then a penguin waddle. Then tippy-toed priss. Every new move brought new laughter from the line.

Sometimes you have to make a mess." "And then you clean it up," she said confidently. "You simply clean it up.

Jazz has to work. It has to play with the audience and with the marketplace. I think that is relevant to business.

[Oz the Great] it's not like I had to imagine things, and as far as wire work goes, I had fun with it.

When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.

You have to be able to improvise and respond to what's going on around you. Then you might get a good piece of work done.

If you just storyboard something, you've already planned it, and you're stuck in the limitations of your imagination.

I noticed that when it came time to improvise, my students would often make mistakes.

I definitely am a performer, and there are different styles of stand-up; I mean, some people are writers and they get onstage to get jokes out, and that's definitely not what I do. I like to just go up and, if I'm telling a story about someone, I'll play his or her part.

I never have fixed subjects that I discuss on stage. I never go on with any particular subjects in mind.

I was so intimidated by the thought of improvising back in the '80s when I was in Chicago. I think the opportunity only even came up once that I can recall, and I turned down the offer. It was to go improvise in some club in the suburbs or something. Good God, I couldn't think of anything more frightening than to get up there without a plan.

No elaborate stories of monsters and quicksand and lightning and having to cross rivers of hot lava by jumping on the heads of ravenous lava earwigs the size of cows, with pincers made out of giant steel knives?

I guess just a lively imagination is the best effort an actor can have.

I once locked my keys out of my car. I had to break out of my car with a coat hanger.

Play the moment, play whatever plays for you in that moment, and then go to the next moment. It doesn't matter where you're going. Don't worry about that. Just take it moment, moment, moment, moment.