Randy Orton Quotes

Yeah, improvising only really works 100% when you're with somebody.

I'm an improvisational actor. I like to do my own thing. But once in a while, I think you should have the self-restraint to let someone else dictate the story.

I moved to Chicago in the early 1990s and I studied improvisation there. I learned some rules that I try to apply still today: Listen. Say yes. Live in the moment. Make sure you play with people who have your back. Make big choices early and often. Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you're scared, look into your partner's eyes — you will feel better.

Sometimes I do love to rehearse, but I always switch it up depending on whom I'm working with.

It's pretty boring, working by yourself. The scene happens in between the two of you, and then you don't know what it's going to be because it's a kind of combustion. So, you do take something from every actor you work with.

To me, performing means trying to do the most you can with the partner in front of you, with the story you're telling. There are actors who have carried me, who have brought me elsewhere or with them.

I bring ideas to set, and I'm more than willing for those to be affected and be malleable based on what the other person gives me. I don't know what another actor is going to give me, on the day, and I don't want to be so hard and fast in my technique that I'm not open to what's coming.

To do a comedy team, it requires so much extracurricular stuff, so much compromise, so much intuitiveness to know what the other guy is doing. That's why it's so hard to do it.

If you ever go to a music session, you'll notice that the musicians can sit down and start playing right away, and everyone knows what to do. Of course they're reading it, but the conductor can tweak little things, and you can take that back to directing motion pictures.

The good thing about having chemistry is, when you get to the improv section of a scene, you've got somebody to feed off. It can go on and on and on, and the sky's the limit.

I don't have to worry about writing jokes. I just tell stories about things that have happened to me. As long as I'm alive and I'm living and I'm experiencing different things every day, the show will always change.

I've never had a plan - it was just to try and get with the people you like to play with, and try to do the best you can.

We go in and I do my thing, and then we supplement it with whatever we want.

I love to be in the position of not knowing what I'm gonna do, but having rehearsed all of those so when something happens with the others actors I go with whatever that is I'm getting.

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

It's such a great thing to work with people and not have a plan.

I research every part thoroughly. I talk it out with my actor friends, but then I throw it all away when I get to the set. You have to be spontaneous.

With improv, it's a combination of listening and not trying to be funny.

When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.

I love an actor who comes in, ready to work. It's like a good tennis player. They hit the ball where you don't expect it, and it's great.

When you get down to it, wrestling is wrestling, and when you get in the ring and start performing, it's up to you and the guy you're in there with to do it and perform it.

We storyboard a lot, but I love when we are just going in there and just, almost on the fly, making stuff and discovering moments. It's just fantastic, where you can really go in there and be creative and everything.

For me, you have to do as much work as you can beforehand and, once you get on stage or set, throw it out the window because you need to be collaborative. You shouldn't have too many ideas about where it goes before you get into the room with the director and other actors.

The beauty of stand-up is that it's very flexible, it's very malleable and immediate. Whatever is in your head that day you can verbalise in some way that night. It's the medium that suits me best.

I was lucky enough to have many different tag partners.