Creative Spontaneity Quotes

The simplest Surrealist act consists of dashing down into the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd.

In a given scene I may know nothing more than how it's supposed to end, most of the time not even that. Scenes are improvised. A character does or says something, and with as much spontaneity and schizophrenia as I can muster, another character responds. In this way, everything I write is spontaneous chain reaction and I'm running around playing leapfrog in my brain trying to "be" all my people.

Jazz is freedom. You think about that.

I love to make music that makes people feel mood-enhancing, life-affirming brilliance but I just make whatever comes out at the time and sometimes it's up and sometimes it down and sometimes it sideways with a hint of s smile.

We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.

I've always enjoyed and loved playing live. I relish and cherish it more than anything else because you never know what the performance is going to be.

When the spirit of child's play enters into the creative process, it's a wonderful force and something to be nurtured.

The animators bring their own spontaneity to it as well, because when they do a take of a shot it really is like just one continuous activity for them. They launch into it and do it, and they're not even quite sure how it's going to turn out when they're doing it. They're sort-of sculpting their way through a scene and trying to make this inanimate object alive.

We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.

I learned at a very young age that music teaches you about life. When you're in the midst of improvisation, there is no yesterday and no tomorrow — there is just the moment that you are in. In that beautiful moment, you experience your true insignificance to the rest of the universe. It is then, and only then, that you can experience your true significance.

Acting isn't something you do. Instead of doing it, it occurs. If you're going to start with logic, you might as well give up. You can have conscious preparation, but you have unconscious results.

One mustn't allow acting to be like stoc kbroker - you must not take it just as a means of earning a living, to go down every day to do a job of work. The big thing is to combine punctuality, efficiency, good nature, obedience, intelligence, and concentration with an unawareness of what is going to happen next, thus keeping yourself available for excitement.

I never plan ahead, with the exception of the Amber books which had to proceed in sequence. But I don't really like to know what I'm going to be working on a year in advance. So I just sign blank contracts for books and whatever strikes me as a good idea is what I write about.

All of a sudden there's a song - there in your hotel room playing your guitar - and you write it, and two or three years later it will come true. It keeps you on your toes.

You might lose your spontaneity and, instead of composing first-rate Gershwin, end up with second rate Ravel.

I really admire songwriters or any kind of writer, painter or artist that says, "I'm going to get up at 8 o'clock in the morning and spend this time to this time creating." I do that sometimes, but the songs I like the best come as gifts from somewhere. It's almost like you didn't do anything, like you can't take credit for it because you sat down and the melody and words came out.

I just sit down at the piano and rattle it off.

The greatest danger in art is too much knowledge.

I'm not the comic innovator that Bill Murray and Eddie Murphy are. I can't just come out with an incredible line.

That's what it is-it's jazz. It's just jazz. That's what the whole thing is about to me. It's about what's happening right now in this context. This conversation is jazz to a certain extent. It's improvisation. What appeals to me about music is the improvization. That's what I don't like about the media-they're not living it.

I don't write my standup on paper or anything; but I just organically do it on stage, have an idea, chat it up a little bit. I'm keeping notes. I'm trying to keep up with this world and try to bring out a special every year.

I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.

I just sing what I'm feeling at the time and hope my fans will like that and appreciate that.

What people who don't write don't understand is that they think you make up the line consciously — but you don't. It proceeds from your unconscious. So it's the same surprise to you when it emerges as it is to the audience when the comic says it. I don't think of the joke and then say it. I say it and then realize what I've said. And I laugh at it, because I'm hearing it for the first time myself.

Sometimes people confuse contrivance and authenticity, and sometimes I think authenticity can get in the way of a good excuse to do something theatrical. I just don't like wasting opportunity - if you're going to do a photo session, if you're going to walk on stage, why not make it interesting?