Improvisation

were so exhaustively trained and that also you guys were really putting a beating on each other. There was nowhere to hide. No, and we wanted... You're looking for the accidents. And so there's moments where I really get kicked and I'm down on the floor and almost in the latrine. That was improvised. Those guys were so fantastic. All of their dialogue is improvised. I didn't know anything they were saying until...

30:59 · jump to transcript →

Who reviews the movie? Okay, now, hold it. I love this moment from Sean. I love this moment. Henry realizes. Yes, I'm starting to tremble. And I like this. And I like his. What? I'm sorry. It is. I love the what. Yes. When you wrote that line, it's just, look at him. It's just the job. No hard feelings. Everybody here was having fun. Okay, now, Alec. Alec, improvised line.

1:26:11 · jump to transcript →

That was improvised as well. And it was, again, just Alec, what he brings to it. Just having so much fun playing this character and being in the movie. And the audience are in the palm of his hand. Every time I've watched this movie with a crowd. They just, and you just love it. And the choice Lorne made here. This music is the end of a movie. Yes. And it was a really bold one.

1:26:44 · jump to transcript →

Tom Hooper

This was one of the funniest things I think I've ever shot. Sacha would just constantly improvise stuff with the props and just at the end of singing that section would just go back and re-sing and again because you're live he could just pick up and start and stop.

50:18 · jump to transcript →

Tom Hooper

It was more interesting if the soldier really thinks there's a special intimacy going on between them, but it's all really in the surface of stealing from him. I love the music in this. We had this great band of seven or eight players who did a huge amount of improvisation based around the score. And we'd kind of watch the scene together at Abbey Road and mark up certain beats I'd want to hit with the gypsy violin or with the accordion.

51:45 · jump to transcript →

Tom Hooper

because half the time he'd be writing messages that really had nothing to do with work or were just sort of jokes. And this is again, this is inside T-stage, the Richard Attenborough stage. This improvisation that Sacha does is

53:31 · jump to transcript →

so anyway so yeah so I mean every time you see Kelsey here he's wearing this weird rig and you know and then we have to do so it's funny because I wanted to kind of encourage improv because I feel like spontaneous performances work really well in found footage it gives it like kind of a cool authenticity and then I realized that every single time I was going to use something I'd have to capture it from other camera angles precisely so to edit together and therefore no one was able to improvise anything and I probably seemed like

40:40 · jump to transcript →

Okay, well, we'll get it. Timo Chajanto takes story credit, but when it comes to the dialogue, yeah, shit on the white guy. No, no, no. I mean, like, I'm saying that he's a fucking master of improvisation, man. Yeah, he is good. The thing is, like, obviously, we fucking wrote a lot of shit, and Epi couldn't even, couldn't remember most of it. Yeah, yeah. And in all fairness, like, we didn't give him time to sort of...

51:31 · jump to transcript →

And so then, you know, every time we went for a take, it was like, stop now, and then we check, and then we can go again. But on one occasion, he decided to do a second take without stopping, and then when he came back... He decided to play the cowboy. Yeah, and then I had to play angry dad then on set. Okay, so this scene is actually totally improvised by us on that day, right? Yeah, literally about like 10 minutes or something before we were to lose sunlight. We were actually panicking because...

1:10:55 · jump to transcript →

trying to get a level of naturalism and realism in the performances. And David comes from a documentary background. And so we set up a whole series of cameras and just kind of went in a circle around the table and allowed the actors to improvise as much as they wanted to. And that created a sense of naturalism. And we shot the film in order.

5:29 · jump to transcript →

seeded the most control over in terms of you know the other movies were very hyper stylized and super designed and every shot storyboarded and you know meticulous prep and long preps and long post-production this had none of that and it was a lot more about trying to give the the scenes to the actors and allow there to be improvisation and to feel our way through it and

1:19:07 · jump to transcript →

Wes Anderson

Yes, now, this is a special thing because Jeff is someone who is-- Not every actor in the cinema is able to be handed paragraphs and to sculpt them and shape them. When you're going on the stage, if you're used to going on the stage, which, Jeff is used to going on the stage too, but when you call on someone to take a thing like this, bring the whole thing to life, I have noticed the preparation that Jeff... Sometimes takes the form of-- I hear Jeff doing the scene over and over and over. It's becoming like music because Jeff is a musician as well. I say this in front of Jeff, but am I wrong, Jeff? There could be a musical correlation in the process of just how you kind of get the lines into your system and prep-- So that then when you're doing them, you're not thinking about the lines. Do I have any of that right? - [Goldblum] Yeah, you sure do. Yes. Of course, it's a case-by-case basis sometimes, not in this case, but, you know, I like to improvise, and this and that. But this is different. This is different. You're, of course, very-- The document and your writing is meticulous and brilliant, and I'm nothing if not conscientious, and in the time leading up to this, 'cause I had a while, I would do it a lot. I worked on it a lot. Yes, there's a musical kind of-- For me, some kind of, you know, shape that it can take, and it can be informed by sort of my sense of musicality. But I did-- I remember-- I think this is maybe interesting and noteworthy. I had-- After all that work, I came, and on this day, we were reshooting. I remember we did a bunch of takes, but when we started, I did it through, and you said: "You're changing--" I think it was a "the" to an "an" or an "an" to a "the." And I said, "Yes, I know. I've done that not without thought, and here's my reasoning," and I gave you the whole idea. [chuckles] And you said, "Well, that's fine, but I'd rather you do it the way it is."

26:20 · jump to transcript →

Wes Anderson

Well, we had an orchestra from Moscow. And then we had two other troupes, one French and one German, I think, smaller groups to get enough of them, because they don't usually play in such a large group. And we had a great big assembly of them. And then we also had cimbalom, and we had one Hungarian cimbalom player, and we had another English cimbalom player who did different things. In fact, at one point, there's a cimbalom sort of solo in that ski chase. There's one point where it's-- And we had him play it-- We recorded it five times, and each time it had its own kind of thing because it was just an improvised part. And then we ended up just using all five of them at once. And it was a good-- That was the best performance, was playing everything he did all at once. Documents, please. - With pleasure.

1:28:58 · jump to transcript →

Pure Jeremy Renner. These two are so great together. They're so fabulous to work together. And I'm humbly admitting that any time Jeremy gets a laugh in this movie, it's the improvisation of Jeremy Renner. He's a brilliant improvisational actor. And the Kremlin after.

10:18 · jump to transcript →

And this was lovely. This is pure improvisation by Sean. Originally, he just touched her with one finger. And each time he touched her, he touched her in a different way. And this one was just so wonderful. This is some of my favorite music by Joe. I know. And I love this transition here. Okay, this...

1:29:17 · jump to transcript →

Matthew Vaughn

This is all improvised from the day we were mucking around. And Jane's like, that's not funny. No one's gonna find it funny. You guys keep doing all this masculine crap. And I was like, Jane, we're doing it. And then Jane saw it and went, okay, it is funny.

56:55 · jump to transcript →

Wes Anderson

In Moonlighting, I think-- I mean, I've always heard that Bruce really improvised that role very significantly.

39:57 · jump to transcript →

I remember saying to Charles, "Can you--?" That line is not in the script. He improvised it. - I told Charles, "Can you... ...say something like, 'Stay in your place?" This shot in 3D is my favorite 3D shot in the movie... ...with the chains coming down. Absolutely gorgeous. It works very good. And Charles just came up with, "

42:16 · jump to transcript →

And she was finding herself comfortable in that conversation about never doing the same thing twice. She had spent the previous year being, or longer than that, having to do the same thing again and again and again because that's what being a pop artist requires, that you go out and deliver something that's close to the recording. That's what the audience want to hear. And she was never like that. She always wanted to improvise and do things in a different way.

1:46:35 · jump to transcript →