Spontaneous Dialogue Quotes

I like to say whatever comes to mind when I am in the ring and work off the reaction from the crowd.

I know how to have a conversation, but I've never done improv. I've never taken improv classes.

In 'There's Something About Mary' and 'Dumb & Dumber,' I ended up improvising quite a bit of my scenes, and later I didn't even remember what I'd said because I just winged it. When I went and saw the movie, I was as stunned as everyone else was.

I don't know we have a method. We show up at the office. Is that a method? That's about the extent to which it's been formalized, asystematised. We show up at the office and talk, talk a scene through.

I think it's just funny, the things that come out of people's mouths, whether it's a politician, whether it's an average person on the street - and to be honest with you, sometimes these politicians sound like average people on the street.

It’s like a language. You learn the alphabet, which are the scales. You learn sentences, which are the chords. And then you talk extemporaneously with the horn. It’s a wonderful thing to speak extemporaneously, which is something I’ve never gotten the hang of. But musically I love to talk just off the top of my head. And that’s what jazz music is all about.

When I went out and did what I did in the world of professional wrestling as Stone Cold Steve Austin, pretty much anything and everything thing I said was ad lib, on the spot, just let it fly and go for it.

A lot of lines in movies were written, but I'm always improvising. Once you get into the scene, it just comes to me.

If you actually do cold readings, it's very close to how people actually talk, because you're experiencing these thoughts anew every moment, and trying to make them come out coherently.

I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.

The worst thing about e-mail is that you can’t interrupt the other person. You have to read the whole thing and then e-mail them back, pointing out all their mistakes and faulty assumptions. It’s frustrating and it’s time-consuming. God bless phone calls.

You should let dialogue get as nearly out of control as you can. Characters should say what they say to each other instead of what they mean to say. The worst purpose of dialogue is to elicit information: "You know why we're out on this space station, Carruthers - to save the universe!"

Mississippi Mermaid was a very special experience because we only had the dialogues for the scenes we were shooting the night before.

If I had to control what I was speaking, it would be a chore. Right now I just feel I've got my shoes off, everybody comes in, I talk. If I was an actor it could be a problem, but right now I just talk all the crap, I can badmouth anybody I want, I can say what I want and move on.

I've never had a written script.

Die Hard With A Vengeance shooting was a great time, because we had an interesting script. The first script was called Simon Says, and something was going on, because some days we'd get to work, but we wouldn't actually have dialogue. We would go to Bruce's Willis trailer, and they'd say, "Okay, you have to go from 168th Street to 97th Street today. We're going to do it in the cab, and Sam, you say this. Bruce, what do you want to say?" And that's how Bruce's "hey, Zeus!" thing came up.

I do tend to think that I've written a great deal out of my unconscious because half the time I don't know what a given character is going to say next.

I think that if you're improvising on TV, it's a great way to help the dialogue between actors and writers.

I'm not a good improv-er, which is what a lot of comedic actors are really good at. I have failed miserably when I've been asked to improvise.

With Sean Penn, he wants to be surprised. He doesn't necessarily want what he's written, although we'll do what he's written. He likes the danger of acting.

'Humans of New York' is basically somebody walking up to absolute strangers on the street every day and, within minutes, talking with them about very personal things. Some things they haven't even told their best friends or family members.

Improv plays such a huge role in finding great lines - you'll be surprised at what comes out of your mind inadvertently. A lot of times it's better than a script you've worked out ahead of time.

I kind of connected the dots, like, 'Oh, we're just saying stuff. We're just saying things that make sense, so let's just say them like you say them in real life.' It was my first and one of my only acting lessons 'cause I never really studied acting.

I wanted to say things that were natural coming from me.

I don't think there's an improvised word in the movie. I hope not because I admire writing. Improvising is kind of gambling. It's just that you're standing up.