Quotes About Improvisation

Corambé debía tener, por lo tanto, todos los atributos de la belleza física y moral: el don de la elocuencia, el encanto poderoso de las artes y, sobre todo, la magia de la improvisación musical.

People are either funny or they're not, and you can't teach that - but you can teach people to work together to make an idea better.

I have not worked out my poems with a careful will, falling rather on haphazard and blind formulation of wordage, a more flowing concept, in a hope for a more new and lively path. I do personalize at times, but this only for the grace and elan of the dance.

I worked with Jack Nitzsche for 'One Flew Over the Cuckoo's Nest,' and we'd booked a symphony orchestra. He dismissed them and came with a little man who poured water into glasses of different sizes to make a glass harmonica. And most of the music for the film was that - with some Indian flutes and some drums.

I worked with a guy, I can't think of his name, him and his wife, and one of them had a saxophone and the other played drums. It wasn't a regular job but I did a few gigs around home with them.

I just love the process of working with other actors. It's like jamming with a musician, except it takes a little more effort to get to that place as an actor, because you have the cameras and lights and everything. But I love jamming with these people.

Chess masters don't evaluate all the possible moves. They know how to discard 98 percent of the ones they could make and then focus on the best choice of the remaining lot. That's the way expertise works in other fields, too: Wise practitioners recognize familiar patterns and put their creativity, improvisation, and skill toward the marginal cases.

You get a sense of how the show works and then let your personality take over.

Sometimes it works, sometimes it fails, but that's what we face when we're dealing with improvisation.

When we perform music at TV shows, we always try to do something that's not scripted because anything that's a surprise for the audience and the crew and the other performers, it works better on camera and for the people back home, too.

In true Slipknot fashion, nothing we plan works out the way we want it.

There are times when fixing things quickly is the only option: when you have to channel MacGyver, reach for the duct tape, and cobble together whatever solution works right now. If someone is choking on a morsel of food, you don't sit back, stroke your chin and take the Aristotelian long view. You quickly administer the Heimlich maneuvre.

I try something new every night. It's an hour show; if it works I maybe try it a few more times and then move that off and try something new. It's a great workshop for me.

There is always something new. But to be honest, if I was to score a goal in a World Cup, I don't know what I would do.

My favourite comedian, of course, is Tim Conway. He has a way about him - being that belly-laugh kind of funny, and he has the improvisational skills, too. I've never seen anybody better.

I always look at 'Monty Python and the Holy Grail.' They talked about how they wrote this movie with horses, and then they realized that horses are super-expensive and time-consuming. 'Why don't we just change it to coconuts?' That's part of my process.

I don't plan stuff. I don't believe in planning. I just believe in doing your best at what you do best at all times and everything else is everything else. Everything else is a plus.

Baking is a matter of precision and timing, but I just make things up as I go.

The best moments can't be preconceived. I've spent a lot of time in editing rooms, and a scene can be technically perfect, with perfect delivery and facial expression and timing, and you remember all your lines, and it is dead.

Well, I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it. And the riffs are about timing.

I think I get credit for my timing because most of the time, I really have no idea where I'm going with it.

When we used to do improv, you'd have to learn how to listen and contribute and not talk over each other and learn timing, and you fall into roles where that permeates in your regular life as well.

As a child, I spent a lot of time alone. I used to sit in my closet with one cracker. I'd pretend that I was on the North Pole freezing to death, and I had to somehow survive on this one tiny cracker.

I really didn't have a plan, I just went in and started playing. one of my specialties was to be able to play for a really long time without stopping and I would play these repeated patterns for hours and hours and I wouldn't seem to get tired.