It calmed me down to see that most of the time no-one gets the scene on the first take.
When I direct - everything I've directed has had improv in it, because I think there's something special in a performance the first time it's said out loud that's hard to recreate.
I try to shoot the first rehearsal because people are more spontaneous. People in real life don't really know where they are going to be either positioning themselves or how they will be saying their words. When people goof during the first take, it usually looks realistic.
I like the inspiration of the first take.
I think the first take is best, as you are spontaneous, and after that, it becomes a mechanical thing. I don't believe in second take at all.
I prefer to have the music as pure as possible. I don't want to say, 'Oh yes, this is good. This is not good; I have to do it again.' I don't want to do it again. I want to do it once. It's no good, I do another one.
When I recorded for Columbia, I could usually do anything in one take...I would invariably want to use the first take because that would be the one that was spontaneous and fresh.
'Cause I do so much homework I'm good to go on the first take; I don't want to rehearse. I like the element of what's unpredictable of that first take and nobody knows what's going to happen, and I'm a big fan of that.
A lot of my albums that I've done, a lot of the songs have been the first take. It's before you mess with it too much - you can take away all the spontaneity and the emotion of something by trying to make it sound perfect.
If I do too many takes, I'm too self-conscious. I think I'm better in first scenes.
I think you should do rehearsal and work at it, but when the camera rolls, you should be ready. Try to make it good the first time.
We were so limited on time for 'No Burden' that we didn't get to overthink anything. There was no going for the perfect take, or even going for three takes. It was kind of nice because what you're hearing is our first impulse.
After I changed the string we picked up right where we left off - and punched back in at the same time. I don't know if this has ever been done before. The engineer sort of looked at us weird, but we got it on the first take.
I tend to lose my performance energy the longer things go on for, so I'm always best on the very first take.
I was originally going to join 'Mike & Mike' in New York City, but then that move fell through, and there was a vacancy on 'First Take,' so now I am excited to be able to do both.
Whoever did my mo-cap for Stardust watched my very first entrance and nothing else, because I never did half the stuff ever again, and it's funny to watch. Well, hey, that's what they used, so yeah.
There's something about the first time an actor runs the material over his or her face you know when they kind of run it through their eyes and you see the thing and there is little imperfections in it and not every line is delivered perfectly, and it doesn't have that mechanical feeling.
It's tricky when you have people tuning in to hear about sports, not politics, but I think in issues where they intertwine, that is not something 'First Take' is not going to shy away from and potentially will go to another level than another sports show.
I haven't watched one second of 'First Take' since I walked off that set.
A lot of my vocals were the first time I ever sang the song.
It was my first scene. My first day. We could have started with me drinking a beer, something a little less than having Barbies touching each other. But they started with that.
I don't think anyone would disagree with this: You are self-directed in daytime, and that's it. So come with it, and bring it on the first take.
Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.
My best takes are my first two takes.
