John Travolta Quotes

I'm singing what I want to sing based on the emotion of what that day feels like. That's what comes out of my mouth and guitar. That impacts people. They know anything can happen.

The way I talk to the puppets is real, and it's in the moment, and it's seeing what will happen. It's not something that is scripted.

If you're playing a character who says whatever he wants, I felt free to say whatever I wanted on set.

When I'm in the studio, I just let it rip. That's my process. I get in the booth, and whatever is on my mind at the time, I just go off and say it.

As a director and an actor, I encourage improvisation but in character and in the moment of what it is.

Those are the rules. To improvise in a movie with other people, when they're following a script, everybody has to know what's going on. I think a line or two we might change. Certainly, I do. But I wouldn't call it improvising. I'd call it fudging the lines.

I always wanted the actors to feel really free to leave the words behind if they weren't working, reword lines, if they felt like there was impulse they wanted to follow, if it was taking the scene out of order or adding something, that you should always feel free to do that.

There's no interference in stand-up. It's all the things it's hard to get in film: I get to have a wife, I get to have kids. I get to be sexual. I get to grow. I get to be a man.

It's a very collaborative environment [making The Office]. We always do takes of how it's scripted, but then we also mix it up a lot too. And it's kind of a crapshoot, you never know which one... I mean a lot of time improvisation doesn't go anywhere and it's not good at all but, so what was written is often times better.

We're all about trying to play better every night, not just singing hit songs ... we ad lib, and every night there's jamming .. it's almost like the Grateful Dead meets Buck Owens some nights, because we'll go off on little adventures and sometimes we do crash the bus!.

Some of the best stuff in all my movies has been improv.

I don't know what the hell I'm doing up there half the time. These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what technique means. But I do know what experience is. I know in my gut when I've done a scene right.

John [Cassavetes] loved actors. He gave them a lot of freedom. So if something came up that a certain actor just felt at the moment and said - that kind of improvisation he would accept. He gave very little direction.

I improvise whenever I feel it's important, or whenever I think that something's there. It's nice to have a script that's so well-written that I don't have to improvise. I mean, I used to have to re-write whole movies; this is kind of nice.

Improvisation sometimes seemed more like jazz than acting, like verbal jazz, with the actors playing a theme back and forth, and then introducing another theme, incorporating it, somehow trying to work their way all together to a meaning of some kind, or at least a conclusion.

I'm gonna write from personal experience, from emotion, from whatever the hell I'm feeling that day.

I think you never want to have to go into the scene having to improvise; you want to make sure its working on the page. But I do like to have the ability to try stuff just in the moment, to give it some sort of spontaneity.

There's nothing like watching a live performance of, frankly, anything. You have to make sure that people believe everything is improvised. I could not stress enough how little we [actors] prepare and what small amount of time we put in before these shows.

Whatever you see me do is spontaneous reactions on stage. It's nothing planned. It's nothing that I got in the room and tried to think of hard. It just happens through feeling.

I'm a terrible lip-syncer anyway because I have to be in the moment, and I can't lip-sync to something I recorded three months before.

When you're telling a story, I think you should tell it to its fullest, with reckless abandon, and absolutely let it be what it is.

They tell you to memorize your lines, follow your light, and hit your marks. Those are the three things that you shouldn't do. You should not learn your lines, you should not hit your mark, and you should never follow your light. Find your light - that's my opinion. Everyone else will tell me I'm wrong, but that's my opinion.

Ladies like improv stilts, and I think men like improv giant cocks. But one of the great things about improv is that you get to play some roles you'd never get to play otherwise, you know, like the old Italian pizza-maker who's passing on the business down to his son. You get to play it all when you improvise.

It is in its pure form that an art hits hard.

I have great faith in the actors. When they improvise, it always sounds better than the stuff I write in my bedroom. When they improvise, they make it sound alive.