Bruce Glover Quotes

You never know what you're getting into like some of the best experiences I've ever had have been movies that literally had a million dollar budget and everybody's eating Cheetos all day and running around without permits and trying not to get caught.

The key is, if you're not monkeying around with the script, then everything usually goes pretty well.

A lot of my best stuff is just ad libs on stage, and that's one thing that I've gotten back to at the live show.

With comedy, I like to not rehearse and just have fun with it, because I think being spontaneous is the best thing for a comedy, in my opinion.

With a terrible script you hustle and try to make it better. But with a good script it can be trouble because you rest on your laurels, so to speak, you think it's going to translate easily.

What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.

I guess, in a sense, 'Audition' was a film that gave me an opportunity that I hadn't had up until that point. So that's definitely one that is important to me. Then there's 'Visitor Q' that kind of taught me that there are some kinds of films that can only be made as low-budget films that really wouldn't work as anything else.

In stand-up you can go either way. It's live. Somebody might say something in the crowd, you might respond to it. But in a movie you could be spontaneous too. But you pretty much have to stick to that story or that scene or that script, but in stand-up you can go wherever you want to. It's more freedom.

With stand-up, you can be as freeform as you want to be. You can say what you want, how you want, at any moment without constraint.

I always like being a director in terms of giving acting notes and punching up on the fly.

...this is my dilemma. I'm a guy who makes things up as I go along, so nothing is ever finished - there are so many layers. So when you solo, yeah, you might get into one thing, but then, hey, everything has implications! You can hear the next level. And that's how I feel about improvising - there's always another level.

Everything I do on stage, I made up in saloons. I started doing it in front of people, and that became my performance. I never had writers.

As an actor, it's better to just be more loose and give yourself over. That's always fun. It's fun to just let go and be somebody else.

I'm not an ad-libber. If I'm asked to ad-lib, I can ad-lib forever and it's really fun to do that, but I find that well-written scripts are put together very carefully. Once you start to ad-lib and add words to sentences, there's a slacking that happens. When it's good writing, it's taut. I'm not judging people who do ad-lib.

That's what improvising is like for me. There's no tollbooth between my impulse and my action.

I think in doing stand-up there are no rules and there's no architecture.

This is reverent. This is Star Wars, damn it. You don't screw around with it. The things that were improv'd or added that developed on set weren't huge departures as far as storyline or anything like that goes. They just were clarifications in character or, at the best moments, they spoke to the moment in the story in a way that, at least with Kaytoo, tended to be funny.

I like little collaborations where the other thing happens, where it's half-baked or it's improvised, and let's develop it together. "What do you want to wear? Do you have an idea?" All that's fun to do, and I like that, but it doesn't take anything away.

It's rare that I've read a script where I'm like, "Oh, my god, it's hilarious!" All you want is a good skeleton and good characters. Then, you can go, "Okay, I can bring a lot to this. I can improvise and I can create something out of this."

If you do an indie film, where it's like, "We don't have a lot of money to give you, but we'll really give you a lot of freedom," that's really a luxury to have in this business. At least for myself, because I'm still kind of earning my acting credibility.

I don't practice anything. I spend time looking over ideas and then just get out and do it.

I'm always going to do whatever I think is funniest. If something's dark, I'll do it. If it's a sock puppet, if it's a stool, I'll do it.

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.

Michael Ian Black wears many hats. He's a stand-up comedian, a comedic actor, he's now a writer-director so he knew how to work with all of us. And furthermore, because so much of his career is based on improvisation he gave us the freedom to do that as well.

I wanted to be an actor. Maybe a comic actor, but an actor. That's what got me into acting was putting on an act, because in life, I wasn't funny and I felt on stage or in the movies, I could do whatever I wanted to. I was free.