Improvising Quotes
The best sayings about Improvising that you can share on Instagram, Pinterest, Facebook and other social networks!
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I'm an improviser at heart, when I'm writing, I'm improvising in my head. When you're an improviser on stage, you can never be precious about anything, you can't control what anyone else is going to do. The best stuff comes out of moments of inspiration that spontaneously happen.
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If I'm improvising and I'm not doing well it's because I'm not listening very well. Either I'm overly concerned with something or I'm drifting or maybe I'm too stoned but I'm not getting a clear signal.
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I don't mind doing scripted material. It's actually kind of a relief, because improvising is a little bit like screenwriting on your feet.
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The 12 years that I was improvising are why I got the number of commercials I got when I was in New York and why I got The Devil Wears Prada, and its why I even got in the door for Mad Men.
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I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
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If you're too hung up on improvising 'correctly', you will almost always fail.
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I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here."
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The planet isn't improvising, it's creating dynamic tensions between complex living systems in a planetary choreography, a balancing act between physical, chemical, biological, environmental, and human components.
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I knew I was going to be composing. It all makes sense in retrospect. But you don't know while you're in the process of improvising your life.
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Wherever inspiration comes from, it's like I'll hear a melody and chords, almost a rough structure of the whole thing [song]. I'll just hear it and chase what's in my head. The rest comes from jamming with band, improvising, seeing what comes up as well. I'll come up with it off the top of my head, catch it, sing and hum, and if something is missing, just jam, and that's the [songwriting] process.
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I think it’s very important to live in the present. One of the great things that improvising teaches you is the magic of the moment that you’re in … because when you improvise you’re in right now. You’re not in yesterday or tomorrow—you’re right in the moment. Being in that moment really gives you a perspective of life that you never get at any other time as far as learning about your ego… You have to see your unimportance before you can see your importance and your significance to the world.
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Even when I was in school shows, in elementary school doing plays, I'd always go off book and start improvising.
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I was improvising before I was reading music. I was just trying to play things on the clarinet by ear. I think my ear is one of my greatest assets.
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Improvising things is always changing. A lot of momentum.
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My school life was very much a wandering experience. I was having trouble in school and I was not making a lot of friends. So coming home and actually improvising on the piano and just coming up with melodies was an escape for me.
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I ate his liver with some fava beans and a nice chianti
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I write and rewrite and memorize, and then inject my performance with improvising and spontaneity, because if something feels too rehearsed, it's not going to be fun.
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But one of the things I learned from improvising is that all of life is an improvisation, whether you like it or not. Some of the greatest scientific discoveries of the 20th century came out of people dropping things.
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I enjoy the challenge of taking something which was not meant for the piano, distilling its essence and writing or improvising it for/at the piano, but having the listener forget that he or she is listening to a piano.
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I think initially it's terrifying because going into a show where, you know, "Oh, I'm going to be on stage for two hours, I have no lines to memorize, I have nothing really prepared," and actually I say that, the show is not all improvising.
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When I'm at the piano, and I'm improvising some song about something, it usually oscillates between factual, absurd, and sincere.
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Improvising musicians are musical travelers, voyagers. There is a freedom to wander the musical landscape.
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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.
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My favorite dish is cleaning out the fridge on Sunday night and improvising a great medley.
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A person improvising is sometimes very fortunate that just at that second things coincide.
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Sometimes you'll have great actors who aren't comfortable with improvising. Which can get pretty frustrating. But every actor's coming from a different place and they have their own strengths and weaknesses and your job is to sell them as two people in the same world. Some of them have to have their hands held and some I just let loose entirely.
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This word gets overused in describing actors but I think it applies to Mike [Tyson] in this case - he was totally fearless. He jumped in and played with us comedically and improvised a lot. A lot of jokes in those scenes with him are from him improvising.
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All improv turns into anger. All comedy improv basically turns into anger, because that's all people know how to do when they're improvising. If you notice shows that are improvising are generally people yelling at each other.
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Jazz vision is the fusion of music and art a real paradox of same-yet different. Here we play in exchanges, like the hardness of the key of c# major and from the softness of Db major - capturing, reflecting and improvising.
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The trouble with the jokes is that once they're written, I know how they're supposed to work, and all I can do is not hit them. I'm more comfortable improvising. If I have just two or three ideas and I know how the character feels, what the character wants, everything in between is like trapeze work.
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