Quotes of All Topics . Occasions . Authors
I enjoy being a choreographer.
I'm a choreographer and I love watching 'The Bachelorette.'
Growing up, I was a dancer. I wanted to be a choreographer.
My mother was a choreographer, so music has always been around.
A director is a choreographer, both politically and creatively.
I'm not a good choreographer: I can't remember what I put down.
My own physicality, not an abstract idea, makes me a choreographer.
When I was building my career as a choreographer, acting just happened.
I'm a choreographer and a director, and I have no ambition beyond that.
If I weren't an actor today, I would have been a choreographer for sure.
You always want to please your choreographer, director. Dancers are just that way.
It was not like I planned even to be a choreographer. It just happened to me somehow.
While dancing for me was fun, becoming a choreographer was not something I wanted to do.
The choreographer for the Milton Berle show wanted me to audition. I walked away from that.
Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.
On my 'Mickey' video, I was the director, producer, choreographer, editor, singer - everything.
Had I not been a choreographer, I would have become nothing more than a traffic cop or peon in an office.
I have two best friends - the dancer and choreographer Bobby Newberry and my former bandmate Kimberley Wyatt.
I was a protege; by the age of 10, I was studying with ballet choreographer Anthony Tudor in a class of adults.
I went to an audition for a Harry Belafonte Roaring Twenties special for choreographer Donald McKayle, but I failed.
While I love dancing, and even acting in 'ABCD' - 'Anybody Can Dance' - was fun, I remain, at heart, a choreographer.
I used to do semi-classical dance as a child; I did not have a choreographer, but my mother gave me a cassette to learn from.
As much as I love to travel and be on stage and perform, I knew at a very young age that I wanted to be a choreographer and a director.
It's probably what I'm most interested in as a choreographer: how I can alter and shift and develop the structure of a piece and of the space.
From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.
I never planned to become a choreographer. I never planned to become an actor. I never planned to be a director. It's all good will. I did nothing.
'The Madison' we three weeks rehearsed in a nightclub. Brasseur and Frey didn't know how to dance. A choreographer had to teach us how to do the steps.
I'm heavily involved in the creative with choreographer Christopher Scott. I go to rehearsals with 'Glee' and then practice with LXD till about midnight.
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.
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.
George Balanchine is my role model because his work is so varied. You can see two ballets of his and not even realize that they are by the same choreographer.
I feel an obligation to use black dancers because there must be more opportunities for them, but not because I'm a black choreographer talking to black people.
Martin Joyce is a beautiful dancer and an amazing choreographer. He choreographed the Mulberry dance film I was in, 'From London with Love.' A truly talented man.
I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.
I've admired Lawrence master from his choreographer days. I love how he experiments and makes it work. I like his attention to detail and the intrigue in his movies.
I have fully retired as a choreographer. I do not have the patience now to make actors learn their steps. For me, that ship has sailed. I have enjoyed 22 years of it.
The thing is that when you are a director, you need to be involved in a lot of different fields. You must be a psychologist, an architecture expert; you must be a choreographer.
Even after choreographing some big numbers, I didn't qualify as the top choreographer. You need to have godfathers and big people to support you for others to take you seriously.
When I became a choreographer, I was not assisting any choreographer. I was assisting the director Mansoor Ali Khan for 'Jo Jeeta Wohi Sikandar.' I was the fourth assistant director.
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.
I didn't start out my directorial career with a dance film, as I knew people thought a choreographer will easily make a dance film. And even with a non-dance film, I had delivered a successful film.
I once played a character called Mr. Jonathan in something called 'Razzle Dazzle.' I was a choreographer of children's pageants. That was something I never imagined doing. It did great in Australia.
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.
Till now, I've not had the chance to dance in my films, but in 'Tej I Love You,' I have to dance. I know Sai Dharam Tej is a good dancer, so I am putting in a few hours of practice with the choreographer.
I thought I had to make an impact on history. I had to become the greatest choreographer of my time. That was my mission. Posterity deals with us however it sees fit. But I gave it 20 years of my best shot.
My background is in modern dance. I was a dancer and a choreographer before I was a director, and in dance, you can't cheat. Your leg goes up in the air, or it doesn't. So when I direct, I'm a big preparer.
When I started off as a choreographer, I had to do songs, which I may have wanted to do differently, but directors had their own inputs to give. But now, I take liberty to decide my own dance steps as well.
It is now, after doing TV shows and so much work, that people have accepted me as a great choreographer. So I had to struggle too much, and I am happy with my journey today, though there is a lot more left now.
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.
'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.