Quotes About Improvisation

I have to visualise my jokes, live my jokes, feel the audience because every audience is different. It's like having a different dancing partner every night.

Those are my favorite kind of parts to do, just being a goofball and seeing how far you can go with something until you're just way out of line.

I tend to start books with a very broad outline, but I always leave room for happy accidents. With 'The Passenger,' there were perhaps too many of those.

Planning up front isn't only about making a plan. It's about learning, awareness, and practice; so we can identify options, understand feedback, and deal with disruption. Improvisation favors the prepared mind and body.

You have to just go with your imagination, where your instinct takes you.

There are several major improvisation principles. One is that you should "accept every offer.

Accepting every offer by using "yes … and" language, a cornerstone of improvisation, facilitates building up ideas.

another foundation of improvisation: Make your partner look good. Because Bob and Sherry aren't criticizing one another, it creates a positive atmosphere to generate possibilities. Positive energy drives improvisation, and reduces inhibitions and doubts.

not being able to read music is absolutely liberating for me. It gives me a wider musical vocabulary. There

In the Air Tonight" is 99.9 percent sung spontaneously, the words dreamt up from out of nowhere

But his very best questions always popped out of his mind, unprepared, never having been written down in advance because they were the angle he picked up on the fly, as he heard an answer to a lesser question. Those creative questions were the art. It is what, in my mind, made his querying great.

As a Juilliard student I would write music by day and by night hear John Coltrane at the Village Vanguard, Miles Davis and Art Blakey at the Café Bohemia, or Thelonious Monk trading sets with the young Ornette Coleman, who was just up from Louisiana playing his white plastic saxophone at the Five Spot at St. Marks Place and the Bowery. Years later, I got to know Ornette.

What's your plan?" "There isn't one," said Hester. "I'm just making it up as I go along.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.

Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.

I spent 10 or 15 years doing visual effects and, if I learned anything from that time, it's that you do the best work when you let things go wrong and embrace the happy accidents. Then suddenly it feels fresh and you're somewhere new.

I always had a great appreciation for jazz, but I'm a very pedestrian musician. I get by. I like to think that my main instrument is vocabulary.

We're looking to help our guitar buddies do their thing while at the same time we try to create something we might enjoy listening to ourselves. If anything we are trying to develop a vocabulary so we can converse more fluidly.

I always try to think of a vocabulary to match different musical situations.

Usually when we go in to cut demos, one of us will lay down some mumbling sort of stuff for the vocal melodies because the lyrics don't come until later.

I think it's a falsehood to think you can have some kind of plan. Acting isn't like that, it's more vocational, I think.

My voice is my improvisational instrument, the melody instrument. The guitar is harmonic structure. I'm not a good enough guitarist to improvise on it.

Subtle Pride is an improvisational voice band.

Although there was a screenplay, the actors never knew what questions I was going to ask them, and all of my character's voice-over narration and scenes were added after the fact.