Quotes About Improvisation

I'm really bad with dates and never know what I'm doing from one day to the next.

We all know that jazz demands a cultivation of the mind.

So, to come In with a set routine it's something I've never believed in. It should depend on how you feel, because you play what you feel.

Sometimes I'll just go on my piano and just start playing what I'm feeling. It all depends on what I'm feeling at the moment.

I took Second City out of desperation, and that's what ended up working out. It shows that you should be doing a lot of different stuff, taking whatever opportunities are there, to see what works.

I just write what comes along. I don't have a detailed master plan.

Be-bop wasn't developed in any deliberate way.

It's an experience to actually be a part of developing a character on the go. Everyone should go through this once in their lifetime.

I have to tell you that we never had any scripts. Jean-Luc never wrote a script in his life. He would write the dialogue that morning before shooting.

Dialogue is like jazz. Dialogue is creative.

It was always the same thing - no script, dialogue at the last minute. Everyone always thought we just said anything we wanted. It's difficult to explain - some actors want to know why they have to do this and that. It was so simple and natural with Godard.

If I want to be a real comedian, I can't let you dictate my material, so I started creating more new material.

I'm an improvisational actor. I like to do my own thing. But once in a while, I think you should have the self-restraint to let someone else dictate the story.

I just let the emotion dictate what the arrangement is.

I have the feeling that a lot of poets writing now are - they sort of tap dance through it.

While watching him work on the set of the film based on my life - Patch Adams - I saw that whenever there was a stressful moment, Robin would tap into his improvisation style to lighten the mood of cast and crew.

I would listen to something on the radio and try to tap out the melody, then the harmonies.

My mom couldn't afford dance shoes, so she put me in these old cowboy boots with a hard bottom so I could get some sound out. I used them for seven months. When I finally got real tap shoes, I was nervous. I kept moving my feet, thinking, 'Oh, so this is how it's supposed to sound.'

Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.

I don't think we've ever known what the hell's going on when we do Tap shows. It's possible the audience are effectively getting to see more of the movie when we play. You know, they know the songs, so anything we do onstage, whether we're meaning to or not, is an extension of the film. Other than that, I wouldn't understand what's going on.

I've always loved improvised movies like Christopher Guest and the 'Spinal Tap' era of comedy.

I would imagine that most of my writing is done spontaneously. I had no intention of writing, and then I'll just walk through the house, and I'll hear this melody, and I'll turn on the tape players and go back to it later on. Some days I'll get 3-5 songs a day.

I love Sugru like I love duct tape. I basically just compensated for lack of building skills with Sugru.

Everybody has stories about using duct tape. Of course, most don't try to lift a car with it.