Fay Godwin Quotes

I like to improvise.

I don't plan an awful lot in life just as I don't plan an awful lot in my fiction.

I record cello Etudes that are fewer than four minutes long and post them on YouTube. How can one execute fully-formed ideas with utmost perfection, yet stay free enough to allow improvisatory nuance? This has immediate application in almost every area of life, but especially in performance.

I'd much rather do one or two takes of one thing and then see how it goes.

I love improvisation.

I just like being all over the place and writing whatever comes to mind. Having the tools? It's such a gift.

A lot of young actors have the idea that, "I've got to do this right. There's a right way to do this." But there's no right or wrong. There's only good and bad. And "bad" usually happens when you're trying too hard to do it right. There's a very broad spectrum of things that can inhibit you. The most important thing for actors - and not just actors, but everybody - is to feel loose enough to create what you want to create, and be free to try anything. To have choices.

I Still Approach A Scene As One Would Approach A Guitar Solo. You Don't Exactly Know How You're Going To Phrase This Or That. Which I Think Is Beautiful. That Idea Of Chance.

I've never had a method of working. I change according to circumstances; I don't employ any particular technique or style. I make films instinctively, more with my belly than with my brain.

I like to think that we've got a plan, so let's stick to it. That said, once we've stuck to it, we're allowed as much improvisation as anyone cares to indulge themselves in.

Jazz can be a blank canvas full of possibilities.

I still approach a scene as one would approach a solo. There's nothing set or pat.

I don't ever know where I'm going. Because one of the wonderful things about writing, which is different than working in programming, you don't need to know. You could just write and discover where you're going. And it's a great deal of fun.

I'm playing all the right notes, but not necessarily in the right order.

I have an obsession with details and pattern.

I'm gonna play this game the way I want to. It might be serious, it might be a comedy, it might be a dramedy, it might be variety, it might be a talk show, whatever. There's no box.

You can practice to learn a technique, but I'm more interested in conceiving of something in the moment.

You know. I'll try anything. I'll do anything. I'll explore. Try different takes. All that kind of stuff to do sometimes, to do good performances, but always conducive to having a good time creatively.

I gravitated toward stand-up because there's no overhead. I mean, literally, there's no overhead: Often, you're outdoors performing in front of groups of people.

What I have to do as a musician is do everything that is not on the music.

The point of jazz is, you do something and then you go on.

The fun stuff comes when someone is not so strict on sticking to the script. You're allowed the spontaneity, and great moments can happen.

You can learn steps, but you cannot learn how to boogie.

I don't have what German directors call 'a concept' - a solid, fixed sense of the pattern that you should impose on the given work. I always get the feeling that I am raking up the earth rather than laying down the concrete.

There aren't any rules, as far as anything-and that applies especially to writing songs, whatever gets the point across. So you're just kind of brought up to feel-in any field, if you say you can do it, do it. There it is.