Henri Bergson Quotes

Songwriting is too mysterious and uncontrolled a process for me to direct it towards any one thing.

With Sean Penn, he wants to be surprised. He doesn't necessarily want what he's written, although we'll do what he's written. He likes the danger of acting.

There is no normality in life.

In real life, you don't know what's going to happen to you, so why would your character know? It's liberating to play the emotion your character is feeling at the time and not know what's coming up. I like it.

When we started there was this element of these experiments we were doing where we weren't really sure how the music would play out because the music was all on different players.

I just do a random roulette wheel version of what I've recorded or sometimes tunes I haven't recorded. It's a collection of whatever happens, happens.

It's so funny when you're actually directing because things start popping that you don't expect to pop, and something that you think is going to pop, maybe doesn't quite have the impetus that you thought it might.

With improvisation, I just do it. It might be a total failure but then you just throw the dice again.

Improv plays such a huge role in finding great lines - you'll be surprised at what comes out of your mind inadvertently. A lot of times it's better than a script you've worked out ahead of time.

You can't plan for the future, because some guy's going to land in a spaceship with three heads and a big beak and take over everything.

It's more fun in a way to do ensemble scenes, where you know your background, you know the scene, but you can't prepare because someone else is going to say something that is going to lead you off.

The thing I love about sketch is sometimes it leads you as opposed to you leading it.

The improv, sometimes it works, sometimes it doesn't, but when it does, it's like open-field running.

If innovations were predictable, they wouldn't be discoveries.

When you make a film, you never know how it will turn out, especially when you improvise it.

Events can neither be regarded as a series of adventures nor strung on the thread of a preconceived moral. They must obey their own laws.

Working improvisationally in my studio with dancers, it's completely different. We don't have any starting point; we don't have an end point. We don't have anything we are trying to show or do. The picture evolves from nowhere.

You just can't get surprised when you get surprised, because weird stuff just comes over the transom all the time, and it's not necessarily anything that you've planned for or anticipated.

You know, we never really know what we're going to write next. Which is part of the excitement when we go in and do a new album. No battle plan, we just go in and do it and what comes out, comes out.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble.

When you go live, anything can happen. It excites me because it means I have to be on. When the camera's on, whatever happens happens.

The nature of improvisation is you don't know what's going to happen.

As a performer, I don't like to play the same thing over and over. I like to play it and let it go and move on. That's also why television hasn't really been something that I've done.

I basically expect anything. Isn't that wild? I used to surprise myself a lot: certain moves, how I'd get out of trouble. But at some point, you accept the talent that you have, you accept your creativity.

In the game of thrones, even the humblest pieces can have wills of their own. Sometimes they refuse to make the moves you've planned for them.