Jenny McCarthy Quotes

I listen to WTF with Marc Maron, although I'm getting annoyed with him, he's a bit too intrusive and fawning. But he's done some great interviews in the past, like with David Simon, the writer of The Wire, and Bruce Springsteen. He gets fantastic guests. I just wish he let them talk more.

Oprah was famous for going to a garden party and ad-libbing. She could literally interview people for a half hour about nothing, and it was entertaining. She had her own show before she had her own show.

When I do interviews, I never pre-plan them at all, radio or TV.

It's pretty simple to me: we come from a really grounded world where anything you say could be the thing that the scene becomes about. We're always treating it as if we would treat it in real life. It's all observation.

Like a good play-caller, a good TV guy, if you get going on a good conversation, you can ad-lib a little bit. You keep it going. Just like in a game, if you call a couple plays and they're working, you come back to them.

When I go in to 'Comedy Bang Bang,' I'll go in most of the time with some beats of where we're going with the idea. Everything else is improvised. Nothing is scripted. A lot of times I'll go in there with nothing and it's just conversation with the character.

I can sit and write clever things, but that never quite works as well as when I'm just chatting about stupid things in the moment.

Improvisation is the essence of good talk. Heaven defend us from the talker who doles out things prepared for us; but let heaven not less defend us from the beautiful spontaneous writer who puts his trust in the inspiration of the moment.

When I was a young fellow, I used to learn the dialogue backwards. The point is that in a conversation between two people, you can't have already made the decisions about what you're gonna do. You gotta be very light on your feet. That leads you into areas where conversations can have a much bigger, grander meaning.

For me, improvisation is about working with a partner. That is much easier to do in the interview, because you have a sounding board.

I try to shoot the first rehearsal because people are more spontaneous. People in real life don't really know where they are going to be either positioning themselves or how they will be saying their words. When people goof during the first take, it usually looks realistic.

I never thought innovation as such was very important. Not when you have to think about it... If you're going to come up with a new direction or a really new way to do something, you'll do it by just playing your stuff and letting it ride. The real innovators did their innovating by just being themselves.

Shooting in real-life situations helps actors because they're competing against the noise and the wind. Out of that comes things that shift and change, in terms of tone, but not in terms of re-honing the whole sequence.

I think how I've gotten better, hopefully, at taking what I've got and being able to mish-mash something together, and as long as it feels real to me in the moment, then it feels like a success.

I think the goal is to make a well written scene seem like it's improvised and/or to come up with things that you find in the room that you couldn't have known until you get into the real situation, just try to improve things as you go along.

I didn't write my speech until the night before, and even then I refused to write it out like I would say it, preferring to keep cribbed notes I could come back to if necessary. I wanted this to feel like a conversation because it was what I wanted to say that mattered, not how it looked on paper.

I think that one of the things about music is it's supposed to be spontaneous, it's supposed to be real human beings bouncing off of each other whether its from the stage or to the audience, or jamming with friends.

Jazz to me is the spirit of freedom. I mean real freedom. Freedom to explore. Freedom to express. Freedom to pour out your guts.

When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.

A lot of improvisation ends up being about just thinking outside of the box in the scene. It's not improvisation as much as it is quickness or making it real.

Marty [Scorsese] knows that when an improvised moment comes out of a real situation, it's gonna have more life and more going on than anything you can imagine and that's how the character can become the story

Galinda didn't often stop to consider whether she believed in what she said or not; the whole point of conversations was flow.

I think when you think of my films, I think hopefully you think of an extreme sort of real unfolding, real-time, performed, feeling semi-improvised, you know what I mean, all that.

Our challenge with "The Office" and "Extras" was to get it completely scripted but to find a cast that could make it look like they were saying it for the first time.

I live a real life so I forget to take pictures.