Zitat des Tages über Choreograph / Choreographer:
When I was doing 'Tales from Hollywood' at the National, I was invited to dinner by the choreographer, Kenneth MacMillan. He told me I had the heart of a dancer and asked me if I'd like to come on at the end of 'Romeo and Juliet' as a friar. I said I'd love to, but sadly, MacMillan died shortly after.
I toured with Lady Gaga, and her choreographer is incredibly talented and develops some crazy routines. Lady Gaga is very involved in the dancing, too, and she always wants to have creative input. I had an incredible time with her!
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.
The choreographer for the Milton Berle show wanted me to audition. I walked away from that.
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.
'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.
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.
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.
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'm not a good choreographer: I can't remember what I put down.
From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.
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.
I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
I'm a choreographer and I love watching 'The Bachelorette.'
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.
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.
A director is a choreographer, both politically and creatively.
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.
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.
Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.
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.
I think, as a choreographer and an action designer, you're constantly giving your characters problems to overcome. That's what makes it fun for choreography. But it also makes it fun for the audience to see them solve those puzzles and how they are as a human being.
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.
I was a protege; by the age of 10, I was studying with ballet choreographer Anthony Tudor in a class of adults.
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'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.
My own physicality, not an abstract idea, makes me a 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.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
My mother was a choreographer, so music has always been around.
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 went to an audition for a Harry Belafonte Roaring Twenties special for choreographer Donald McKayle, but I failed.