"Bad improvisers block action, often with a high degree of skill. Good improvisers develop action."(p.115)

In life, most of us are highly skilled at suppressing action. All the improvisation teacher has to do is to reverse this skill and he creates very ‘gifted’ improvisers. Bad improvisers block action, often with a high degree of skill. Good improvisers develop action.

Only someone who is well prepared has the opportunity to improvise.

The first rule of improvisation is AGREE. Always agree and SAY YES. When you're improvising, this means you are required to agree with whatever your partner has created. So if we're improvising and I say, 'Freeze, I have a gun,' and you say, 'That's not a gun. It's your finger. You're pointing your finger at me,' our improvised scene has ground to a halt. But if I say, 'Freeze, I have a gun!' and you say, 'The gun I gave you for Christmas! You bastard!' then we have started a scene because we have AGREED that my finger is in fact a Christmas gun.

La improvisación es algo muy difícil. Yo lo hacía de la siguiente manera: una semana antes empezaba a prepararme, escribía la improvisación y me la aprendía de memoria”.

The amateur doesn't appreciate the need for experimentation. He wants his experts to know.

I'm just sayin', I don't like fun

I was told once that I didn't play the Hollywood game, and that's why I wasn't a big star. What they meant when they said that was that I don't go to parties, and when I go to an audition and I don't like the script, they know it. I don't flirt and I don't play the people that I'm meeting with. In the next breath, this person said to me, ‘When you're passionate about a role, there's nobody that can touch you, but you have to learn to do this also...’ But I don't know how to sit there and pretend I love something when I don't!

And I don't like doing silly things (except on purpose).

Only he who is well prepared has any opportunity to improvise.

I'm the worst auditioner, really, really bad. I mean, you're being judged and I'm just so aware of it that it consumes me. I can't relax, I'm tied in knots, so the voice is very taut and tense. You're so aware that you're acting 'cause you're sitting across from this lady with a piece of paper who's going, I'm. Going. To. Shoot. You. If. You. Don't. Blah, blah, blah, in this emotionless voice. It's foul. I hate it.

I don't like doing interviews. There is always the problem of being misquoted or, what's even worse, of being quoted exactly.

I don't think I want to be acting in my real life. Politicians literally act when they should take it as a profession.

The second rule of improvisation is not only to say yes, but YES, AND. You are supposed to agree and then _add something of your own._ If I start a scene with 'I can't believe it's so hot in here,' and you just say, 'Yeah...' we're kind of at a stand-still. But if I say, 'I can't believe it's so hot in here,' and you say, 'What did you expect? We're in hell.' Or if I say, 'I can't believe it's so hot in here,' and you say, 'Yes, this can't be good for the wax figures.' Or if I say, 'I can't believe it's so hot in here,' and you say, 'I told you we shouldn't have crawled into this dog's mouth,' now we're getting somewhere.