Loretta Lynn Quotes

I think the first take is best, as you are spontaneous, and after that, it becomes a mechanical thing. I don't believe in second take at all.

I can't make a perfect record. When I try to, I bleed all the feeling out of it.

That is a big danger, losing your inspiration. When I work in film and television I try to do each take a little differently. I never want to do the same thing twice, because then you're not being spontaneous, you're just recreating something.

I record cello Etudes that are fewer than four minutes long and post them on YouTube. How can one execute fully-formed ideas with utmost perfection, yet stay free enough to allow improvisatory nuance? This has immediate application in almost every area of life, but especially in performance.

I may play the same songs night to night, but I never play them the same way.

It's funny, man, sometimes you record something that you plan on re-doing later, but then when you listen back to it, you decide to keep it because you realize that it's gonna be real tough to beat!

You're always starting with a nugget of truth, whether it's a song or an improv scene.

I like a performance, a live performance, so I like little mistakes because that's what makes perfect - the mistakes.

I never sing a song the same way twice.

A face in the picture would bother me, so I'd rub it out with the turpentine and do it over.

If you're saying the same line 10 times and making it look like you just came up with it, that's acting.

I'm not able to go in with an act that I use month to month year to year all the time. It's constantly evolving and changing and that keeps me on my toes but certainly adds to the challenge.

I don't want to record anything unless it can be great and genuinely interesting.

I think if you're trying to be funny, sometimes you're bending a piece of metal in a direction it doesn't want to go. And sometimes comedy just needs to find itself.

I like to be in the now, now. Sometimes musicians have to wait for me to be genuine with it. As an actor, I don't have that luxury. You have to make it legit when they say 'action.'

I don't work out a lead section and practice it for a day and then lay it down. I don't do that. The first time I do something I think is expressive or really cool, that's what's actually on the recording.

The art of interpretation is not to play what is written.

More of me comes out when I improvise.

Do you think I am standing here, making this up as I go? I am sorry to disillusion you. I am not Robin Williams. I am the king of the pen.

Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.

Robert De Niro's sort of like a surfer: he doesn't really force anything. So if he catches the wave, or something spills out - to watch a guy be a force at what he does. He has a good worth ethic.

I always feel in improv that nothing is ever as good once it's repeated.

I think probably with any performer, but maybe with rock music especially, the audience wants to see the singer being real, and exploring, and not doing a rehearsed routine, so I'm just constantly looking for new things to try. I'm really curious out there, and my curiosity has led me into all kinds of bizarre situations.

My paintings and comedy have a lot in common. They are both improvisations based on observation.

I have no interest in playing 'perfect.' To me, it's more about being an entertainer. Having a connection with the audience.