Top 95 Choreography Quotes

The goal, when you’re playing a character that’s super beloved from a movie, is to honor what the actor before you has done and then really just expand, which is what you get to do in a musical because you have songs, choreography, and everything is happening in real time.

I don’t think there is anything new left for me in choreography.

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.

I don’t think there is anything new left for me in choreography.

I’ve done some movies before when you have months, or three weeks at least, to train and to learn choreography.

I tell my workshop students, ‘I want you to think of yourselves as artists. Then, when you’re writing, you’re painting, you’re crafting, you’re making a design, you’re sculpting, you’re creating choreography, sound, a sound script.’

Even when you’re being safe, eight hours of choreography makes you look like you’ve been through a war. It’s hard. It’s like playing hockey for eight hours.

I kind of lost interest in the classical dance. I was very much interested in the modern choreography.

I was always interested in choreography – in making people think and feel something.

Sometimes I’ll watch a music video of a great performer like Beyonce and try to follow her choreography. Yeah, maybe I look ridiculous, but dancing gets your energy up a lot better than running on a treadmill or pedaling a stationary bike.

I’d never really shot action scenes before, but I realized early on that is very much like shooting choreography and dance.

I’ve got so many dance heroes, and it’s such a cliche, but how can I not say Michael Jackson? Michael Jackson, Janet Jackson, Paula Abdul – they are the people I remember when I was a little girl, watching their videos and trying to learn all the choreography.

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.

I’d never been around a capella or really knew much about it. I feel like I know a lot about music, but what I didn’t anticipate is that when every actor has to sing a different part and then do all their choreography on the same beat or on the same word, it’s really hard.

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.

‘The Company’ was interesting. I didn’t love it, although it might be compelling to someone who isn’t a dancer. There wasn’t a lot of dialogue, and you were just kind of observing the creative process of choreography and in class.

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 kind of lost interest in the classical dance. I was very much interested in the modern choreography.

When Iron Man’s flying, we’d send real planes up to do the choreography so that we’d get the camerawork to really look like a cameraman was following from another plane. It gives it that ‘Top Gun’ look.

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.

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.

The show is called ‘Todrick,’ and the show follows my life and the friends that I’ve gathered over the past few years making YouTube videos. Every week, we’re taking a brand new concept – a brand new original song, brand new hair, makeup, choreography, and making a video come to life on our shoestring budget.

The costumes had to serve the choreography.

Don’t get confused; doing choreography in the ring can be done by anyone. I take the guy who works in the gas station on the corner, and I teach him a choreography for a week, and I swear he can do it in a ring.

Choreography is something that I am always going to take up, and it will be on the forefront.

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.

Don’t get confused; doing choreography in the ring can be done by anyone. I take the guy who works in the gas station on the corner, and I teach him a choreography for a week, and I swear he can do it in a ring.

Like dancers with choreography or actors with scripts, jazz singers could take material that was known, even loved, then risk interpreting and revising it. They could conceal even as they revealed themselves. Inflection, timing and tonality were their language, at least as much as words.

If we think something is not good, we’ll openly say it. If there’s choreography, for example, and it feels like it’s going to be too taxing on our physical resources – as I said, we’re not getting any younger – we’ll say so, and then we’ll make those changes.

To make it more familiar to me, I ended up treating my swordplay scenes like choreography. So it was, ‘One and two and three and four and five, and turn and step and down and up and lunge.’

Choreography and creativity – it’s my matrix; let’s see where we can move.

Every company has its style, and that’s what makes the Bolshoi so impressive: their attack on jumps or their attack on choreography.

I love watching action films, and especially the little moments of wit and humor in the choreography in a lot of them. The editing of an action sequence often has great moments of comic timing.

I had actually been on tour in Japan and I had my own world tour that I was doing. I was used to doing a show for an hour, so I was always learning choreography.

Neil Mahoney was definitely the visionary in taking ‘Freak Dance’ from stage to screen. He made it more cinematic. He brought the choreography, all the ways to shoot that. I was more the director of actors. I was in front of the camera directing, and he was behind the camera directing.

The goal, when you’re playing a character that’s super beloved from a movie, is to honor what the actor before you has done and then really just expand, which is what you get to do in a musical because you have songs, choreography, and everything is happening in real time.

My method is much like choreography. I don’t sit at a table. I work in a room with people.

I would love to learn how to dance. I can pick up choreography pretty well. But when you’re dancing with your friends, I can’t do that. I’m not a freestyler. It just doesn’t come naturally to me. Clapping is my go-to dance.

Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography.

The good part is once I start directing, I can choose the songs I want to do. I’m just selective now when it comes to choreography.

I’ve spent a lot of time playing Bach partitas. One of my first jobs was to play for ballet and modern classes, so the music in ‘Partita’ is kind of like choreography for me.

I started dreaming of becoming a singer after seeing Michael Jackson in the ‘Billie Jean’ video. The mix of fantastic choreography and amazing music made such a huge impact on the music industry.

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.

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.

Then came the choreography… the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.

Dancing is just like racing. You don’t learn choreography. They just give you steps to do, and you do them over and over and over. It’s very much like what I do in racing.

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.

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.

What I loved most about ‘Rhythm Nation’ were the uniforms and the perfect group choreography.

Putting yourself in the ring to wrestle – create those emotions, ups and downs within the match – one moment dominates the one, and one moment dominates the other, and without having created a choreography, that is the real wrestling.