Improvise Quotes

I use a Bruce Lee technique: 'The way of no way.' He had the idea that he would learn everything, so that whoever he had to fight, he could improvise anything. The best way of starting a gig is just to not think of anything - to clear your mind, not in an empty Zen state, but more just to go on and see where you go.

No, improvising is wonderful. But, the thing is that you cannot improvise unless you know exactly what you're doing.

I'm very open and never write what I'm going to say. Speeches bore everybody else. I have to freestyle. Every time, from one program to another, everything changes and I improvise.

I also think if you're an actor and you can improvise, when you go on an audition and you can improvise you're just a genius. If you can, you know, take a Tide commercial and you can just say one funny line that's not in the commercial they think you're a genius.

My solo music - I get up onstage, I improvise and it's my improvisation. When I get up onstage with Fred Frith and Mike Patton, then we're improvising together. Then it's not my music; it's our music.

But I really like hosting, I think it's a strength of mine. It allows me to improvise, and I love the spontaneity of that, and I think I'm funny behind the desk when interviewing someone.

Many people do think it's naive to improvise in front of paying customers. I'm not saying one way is better than another.

When we were doing 'Freaks and Geeks', I didn't quite understand how movies and TV worked, and I would improvise even if the camera wasn't on me. I thought I was helping the other actors by keeping them on their toes, but nobody appreciated it when I would trip them up. So I was improvising a little bit back then, but not in a productive way.

I love to improvise when it's appropriate and encouraged by a producer.

Life is a lot like jazz... it's best when you improvise.

I keep a guitar around while writing and will improvise music. I do this for several reasons, such as that it's fun, and sometimes it helps me with the meter.

And by the way, everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.

It was actually quite easy to work with Uggie, because he's a really well trained dog. Very talented. I just had to follow him a little bit, improvise a little bit. Sometimes he'd follow me. Especially because of the sausages I had in my pocket.

A jazz musician can improvise based on his knowledge of music. He understands how things go together. For a chef, once you have that basis, that's when cuisine is truly exciting.

When we first started playing we did a lot of rehearsing. We used to write out everything. In fact, that's the way everybody rehearses: we play the tunes and improvise.

The big difference is the size of the crew and the flexibility of shooting because of the size. I mean, it's crazy. So you can't improvise, you cannot suddenly do something that comes to mind, whereas in a small production you have much more flexibility.

I don't write any of my material down. I like to improvise and be spontaneous.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.

Usually I like to improvise. Sometimes, depending on the nature of the piece, I like to improvise because I think it brings certain freshness and a reality to it, as long as it doesn't go too far out of the box.

If you improvise a riff and the crowd immediately reacts to it, you know you're on to something.

In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.

There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.

You have to grab moments when they happen. I like to improvise and ad lib.

Spielberg knows his craft so well, he can also improvise, and that is a lot of fun.

Being able to improvise is the basis for creating all characters and situations, for everything to do with performing, really. And it's good therapy as well.

I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.

Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city.

We always feel pretty creative as far as writing songs. We write them together; we just get in a room, or on occasion in Flea's garage. We just sort of improvise, like jazz musicians.

I don't play the traditional Charlie Parker songs. But I do improvise and I do create with my instrument, and that to me is jazz. But there are people who use the word 'jazz' only in a traditional sense, and they would be offended by that, and that's fine.