Alice Levine Quotes

That's the nice thing about being a live act. I can get the audience, but it's for the moment. It's like, 'Can I do it tonight?' And you can see when people like you. But on record - and with the pen - it's almost for all time. Really, a lot more thought has to go into it.

I can turn on the radio right now and be inspired.

I'd rather play here in this small bar and just do a good show. Because it's fun and there's no expectations, it's encouragement to be different, do something new.

There's something about the rawness of the live thing, there's no rhythm guitars behind the solo, nothing other than what you hear the people playing at that moment. It's exciting, it's about the performance.

People want to see musicians sing things that come from their own mind and own heart in real time, responding to the moment for them.

Phish is such a good band; they just make stuff up as a jam band.

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.'

When you do something in the moment, it may just be for that stage, that audience, that head space that you're in.

You have to create the show anew, and find it anew, on a nightly basis.

TV is the only thing that's really alive, because it's happening as you go. You don't know the end, so another day brings a new life to it. Unlike a play, unlike a movie, where you know the beginning, middle, and end.

I don't know if Prince even really paid attention to time. The moment of creativity is the moment, and you go at that moment.

I don't develop anything. I don't practice, I don't rehearse. I just go out there, and it's just amazing and unpredictable and spontaneous every single time. It's the most cultivating incredible performance that you can go and see live for the amount of money that you can see it for.

I just keep recording. You never know what you'll come up with.

Live TV is unlike any other animal. I love the adrenaline rush. I love the unexpected.

I love to create something new every night onstage; that makes a big difference.

When you are doing a piece you are with it. You don't want to wait until next week, when experience will have given you something else.

I feel like I am very drawn to the short form stuff because it's just fun to be making something, and then, a week later, it's out. I will always be drawn to that kind of thing.

I don't just like to have 1 take, but not too many. I think it is good to keep it alive.

A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.

I'm really keen to try things. I love improvisation. It's quite exciting.

I probably have the most fun on projects where there's some room to improvise.

The point isn't to know what you're doing. The point is to have an experience doing something.

When young comedians ask me for advice that's the one thing I always say is if they're improvisers I'm like do improv, don't make that your sole thing. And at the end of the day when you do your best work you also just kinda, by definition flush it down the toilet and never do it again.

I like doing voiceover work. I just like it in general, because you're constantly working on a very first-instinct level. You show up, you get in front of the microphone, you look at the lines, you say the lines, and then you move on. You work on a really primal level, is what I'm saying. You don't have to shave. You don't even have to wear pants. But, uh, that wasn't your question.

I have a philosophy, a belief, which I can see in many, many other directors that your early work is your best work, because you don't know what you're doing.