Quotes About Choreography

In many ways professional wrestling is a dance.

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.

I love to dance!" she said cheerfully. "Sometimes I think the whole world should be put to music and choreographed!" "This being the Nightside, someone somewhere is undoubtedly working on that very thing, right now.

Every act I see, their whole act is choreographed. I'm sick of seeing these dancers. The only reason they have them is they don't have enough talent to get people dancing themselves.

We always try to make up a new signature dance for our songs.

The first time I started choreographing was in the dark, in my living room, with the lights completely out, to some popular music on the radio. I put the radio on full blast and I started moving. I didn't know what it looked like. I didn't want to see it... I had to start in the dark.

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

Doing fight scenes in movies is a lot different than in WWE, but it was still relatively easy.

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.

Regular martial arts is traditional, with no music and no flips choreograhed into it. But extreme martial arts is choreographed to music. It's very fast-beat uptempo, and you put a lot of acrobatic maneuvers into the routine.

Had I not been a choreographer, I would have become nothing more than a traffic cop or peon in an office.

I'm just about the movies; I enjoy the dexterity of actors in action movies and the choreography side of things. You've just got to be a different person to be a professional fighter. I train with professional fighters, so I know what it takes. It's a very difficult profession, probably harder then the acting profession.

One of my strong suits is finding and creating transitions between moves, then stringing combinations into series.

When I'm making a new ballet, I usually read through the score a little bit, and then I have to go back and translate or transcribe all the counts for dancers because the way that you hear it is completely different from the way the musicians read and play it.

I loved being at the Royal Ballet. Those choreographers, MacMillan and Ashton, they knew how to translate complicated life into choreography.

He said later it was propinquity. Propinquity in the desert. It does that here, he said. He loved the word--the propinquity of water, the propinquity of two or three bodies in a car driving the Sand Sea for six hours. Her sweating knee beside the gearbox of the truck, the knee swerving, rising with the bumps. In the desert you have time to look everywhere, to theorize on the choreography of all things around you.

I've always been athletic and a dancer, so I love doing fight choreography.

There is a clearing for new creative thought in choreography. I don't feel intimidated; there is a lot I can do that is new or innovative or different.

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 think our choreography, which is easy to follow, played a huge role in achieving fame in Japan.

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.'

The heart of the classical repertory is the Tchaikovsky-Petipa 'Sleeping Beauty,' and no ballet is harder to get right.

Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.

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.