Quotes About Choreography

Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.

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.

This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.

Astaire never thought of what he was doing as balletic, but Kelly was always trying to dance with women on points. And his choreography is so showy and flashy. He always looks self-satisfied to me.

The choreography in films is completely different. I find it easier when I am asked to dance to classical music, but it's a different ball game altogether.

You cannot dance an arabesque in 'Swan Lake' and 'Nutcracker' the same way.

I love swimming, and when I'm choreographing something I'm in the studio dancing all day, every day.

I couldn't pick up a sword and go fight anyone, let me put it that way. It's choreography and it's acting. The best sword fights you see look amazing, but it's the acting that sells it more than anything.

Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.

I've been designing since I was 8. I started sketching dresses I could wear when skating. I was always involved in all aspects of skating, not just the technique, the choreography, the music, but the visual aspects, too - what I should wear.

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.

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

We all have seen Madhuri Dixit's hit dance numbers and we can't forget the contribution Saroj Khan added to them.

The costumes had to serve the choreography.

Choreography and creativity - it's my matrix; let's see where we can move.

I was more of a dancer back then, I did choreography, but I was nothing like 'Powerline'.

If anyone is calling me to choreograph a dance, they know my style, and they know I am a taskmaster. They want to present themselves as a good dancer before their fans, and that is why they want me to choreograph.

If I didn't believe in myself as a dancer, I wouldn't choreograph.

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

Choreographers, historically, are born, not made - their talents drive them to it.

Well, for me, the real excitement of doing physical things in films, whether you're talking about a fight scene or a stunt sequence or even a love scene, for that matter, is by necessity it has to be choreographed very much like a dance. That being said, you have to rehearse it over and over again and find a mathematical precision.

I danced with Jacques d'Amboise. At that time, he was the tallest man in the company. So it was a different kind of choreography. It was lyrical.

It is totally different making films in the East than in the West. In the East, I make my own Jackie Chan films, and it's like my family. Sometimes I pick up the camera because I choreograph all the fighting scenes, even when I'm not fighting. I don't have my own chair. I just sit on the set with everybody.

If you look at 'West Side Story,' a lot of those numbers are actually pretty cutty, but the cuts are always musically motivated.