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THE TESTAMENT OF ANN LEE | Behind the scenes via Thomasin McKenzie's Instagram

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Two Armenian Musicians, French School, 19th c.

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Dana Douglas & Michele Hicks @ Oliver by Valentino Spring/Summer, 1996 Ready-to-Wear

improv-is-easy

“I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are. “We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.” Is that like the “pillow words” that separate phrases in Japanese poetry? “I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.””

—

Rogert Ebert, on Hayao Miyazaki

(Also applicable for improv.)