Words matter. These are the best Choreographer Quotes from famous people such as Donnie Yen, Rihanna, Donald Byrd, Yuzvendra Chahal, Pina Bausch, and they’re great for sharing with your friends.
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.
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.
From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.
It’s an incredible dilemma to be an artist of color and to always be in denial about that, saying, ‘I’m a choreographer first and then I’m black,’ when in fact, that’s not the case. I’m black first and then I’m also a choreographer.
To kill time, I went to learn dance and there I met my to-be wife. She is a choreographer.
It was not like I planned even to be a choreographer. It just happened to me somehow.
A director is a choreographer, both politically and creatively.
The choreographer for the Milton Berle show wanted me to audition. I walked away from that.
You always want to please your choreographer, director. Dancers are just that way.
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.
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.
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.
Wayne McGregor’s ‘Dyad 1929’ is a good example of this capable British choreographer’s work.
What’s interesting was with all the shows I did on Broadway, I was either the dance captain or the assistant choreographer – I sort of worked my way up to that kind of thing – and I always was interested in more than just the dancers and the numbers. I would always sneak into the room and watch the scene work.
I have two best friends – the dancer and choreographer Bobby Newberry and my former bandmate Kimberley Wyatt.
The Horny Toad in Cave Creek has great food. When I’m in Arizona, I have at least one meal there. I have a daughter who lives out there, and Dee Dee Wood, who was the choreographer on ‘Mary Poppins,’ lives out there. I still get out there once in a while, but not in the summer.
I enjoy being a choreographer.
When I was building my career as a choreographer, acting just happened.
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.
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.
While I love dancing, and even acting in ‘ABCD’ – ‘Anybody Can Dance’ – was fun, I remain, at heart, 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.
If I weren’t an actor today, I would have been a choreographer for sure.
I went to an audition for a Harry Belafonte Roaring Twenties special for choreographer Donald McKayle, but I failed.
On my ‘Mickey’ video, I was the director, producer, choreographer, editor, singer – everything.
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 in a ballet company, and I auditioned for Bob Alton, a top choreographer at MGM. He sent me to see Arthur Freed, who offered me a seven-year contract.
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.
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.
I announced at the dinner table when I was 11 that I wanted to be a ballet dancer. But my goal changed to musical theater after the choreographer Robert Joffrey saw me perform while I was on scholarship at the San Francisco Ballet School.
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.
‘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.
Growing up, I was a dancer. I wanted to be a choreographer.
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.
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.
