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If I wanted to do clothes or if I wanted to make a building or design a choreography, you are able to do that - they are all under a similar kind of design umbrella.
When I first began choreographing, I never thought of it as choreography but as expressing feelings. Though every piece is different, they are all trying to get at certain things that are difficult to put into words. In the work, everything belongs to everything else - the music, the set, the movement and whatever is said.
I wish I could blame it on the choreography, but it's not a musical. I just had a clumsy moment.
My dancers expect me to deliver because my choreography represents their livelihood.
I always thought martial arts was the most modern choreography we could have right now, and I always wanted to put it to music.
Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.
Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.
It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.
The best seat in the house often depends on the ballet. For instance, much of the first act of 'The Nutcracker' is domestic and small scale, so it's great to sit up close. But the second act features elaborate scenery and choreography, which are better to observe from a distance.
Dance has helped me with everything. It was a great foundation for discipline, hard work and, unfortunately, the ever-elusive idea of perfection. It lends itself easily to fight choreography, because that's what it really is. Choreography. And knowing how to move with someone.
I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing. I have never been a person who wanted to just dance. I have always been interested in developing for other people.
I worked with the same trainer that worked with Denzel Washington in THe Hurricane. It was three months of training, five days a week, 4 to 5 hours a day. This was followed by a month of choreography.
I wanted to be a professional dancer for a period of time, and I did a lot of dancing and choreography and got paid for it.
Every actor has to move in a Terrence Malick film - that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.
Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.
Choreography is writing on your feet.
The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.
I was in a play directed by my father, and I was doing a fight scene, and the choreography went haywire, and I flew backward over a chair and ripped my thumb all the way to my wrist and had to have surgery to sew up all the tendons in there.
There are a lot of similarities between dancing and wrestling. The costumes are the same, the spandex and all that, but you have to be light on your feet to do both, and you have to remember choreography.
Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.
I've been very physical my whole life. I went out hiking and camping for days in the Australian forest, and when I trained at drama school for three years, we did a whole lot on stage-fighting techniques. And I was a dancer from 5 to 18, so I have a memory for choreography.
My mom is actually a former prima ballerina, and all the women in my family are associated either with dance or choreography or acting, so I'm very lucky in a way because I grew up in a family of artists. I've been dancing since I was a little kid.
Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience.
The evolution of Parkour sort of happens with time and age as you change, and the body has a certain memory of Parkour. There is a sort of thing that remains intrinsic, but then the choreography will adapt to whatever the necessity of each particular film needs.
C. S. Lewis
Martin Luther King, Jr.
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