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I have maintained a low profile throughout my career but have always done things in my own unique way, be it dancing or dressing up. On the dance floor, I had my own unique steps and often had to lead my choreographer.
A good choreographer is one that's going to collaborate, teach, guide - everything. The wonderful thing on 'Brotherhood of the Wolf' was that we had Philip Kwok - he choreographed John Woo's 'Hard Boiled,' and in the '70s, he was a martial arts actor, stunt man, fighter, choreographer in Hong Kong.
When preparing for a concert, I do lots of training. I work with a choreographer to create great moves and then I have to keep my voice strong with lessons.
You open a section of 'The New York Times,' and there's a review or a story on a choreographer or a dancer, and there's an informative, clear image of a dancer. This is, in my view, not an interesting photograph.
I design all of my costumes. I like to go out there and feel like I have contributed to every part of what I do. I choose the music, the choreographer, I've obviously chosen my coach, my costumes - all if that falls under my realm of power, my realm of influence.
Dancing was always part of my culture growing up in Barbados. When I shot my 1st video I worked really hard with my choreographer to perfect the routines.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
I think I just have this need to be a storyteller. That's why I wasn't a great dancer - I couldn't articulate a story. I was a better choreographer. I have the need to to just express myself in that way. I can't explain it.
It's called the Ailey American Dance Theatre, not the Alvin Ailey African-American Dance Theatre. One thing also that Alvin wanted people to recognize, he had to wake up black every day. That's not an issue. His culture is an issue, not his color, his culture. So he really negated the fact that there was such a thing as a black choreographer.
A choreographer deals with the movement that you create, and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected.
When you're a choreographer and you put so much into a routine that's emotionally driven, those are like my ideas and my little babies that I have here and then I put them out there and they're there to be judged and looked at. When it's all over, it's just such a relief.
I didn't grow up on dance class. I was always natural. I've been in the industry since I was eight and I've always had a choreographer since then. But I never really took ballet or anything like that.
A director is a choreographer, both politically and creatively.
My own physicality, not an abstract idea, makes me a choreographer.
Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.
Melissa Barak, an ex-City Ballet dancer and sometime choreographer, has put together an unspeakably dopey and incompetent mess called 'Call Me Ben,' combining ultra-generic dance, terrible dialogue and disastrous storytelling, about the founding of Las Vegas by the gangster Bugsy Siegel, who insists, violently, on being addressed as 'Ben.'
You get used to working with one choreographer. You kind of get stuck in that vein and you work your way out of it, picking up someone else's style, their flavor. It takes a bit of time.
Martha Graham, along with George Balanchine, is one of the two commanding figures in 20th-century American dance. For those much younger than I am, her genius as a performer will have to be taken on faith - and on the always-suspect evidence of film. What will last, if things go well, is her genius as a choreographer, as a woman of the theater.
In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.
I was a protege; by the age of 10, I was studying with ballet choreographer Anthony Tudor in a class of adults.
'Behind The Candelabra' is an HBO movie. It's the Liberace story. Michael Douglass and Matt Damon. I play a small part in it. I play a choreographer who introduces, brings Matt Damon to Las Vegas for the first time.
I'm not a good choreographer: I can't remember what I put down.
On the videos for '1234' and 'My Moon My Man' I wanted to make the songs visible. And, really, what way can you make sound visible other than good old naive dancing? I was working with a choreographer, but I'm not a dancer. Any notion of elegance is impossible with me.
I'm a very competitive person, and I always competed with myself. Every year, I'd take six weeks with my band, crew and choreographer to put a new show together. We'd spend eight hours per day, seven days per week putting a show together to beat the last year's show.
I went to an audition for a Harry Belafonte Roaring Twenties special for choreographer Donald McKayle, but I failed.
C. S. Lewis
Leonardo da Vinci
Martin Luther King, Jr.
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