Quotes About Dance

I was a dancer, and my father was a dancer, so I really grew up in that environment.

I realized I'm a very, very white dancer.

I grew up going to see my sister dance, both at the ballet and later as a modern dancer, and have always been a big fan of the ballet. So I have had a long relationship with dance.

I decided to go to dance school at 22, which is late for a dancer.

I'm a bit of an attention seeker, so I'm always looking for a table or some height to get up on and dance.

Mother had taught me dance steps from the time I was 3, and we were always singing and dancing around the kitchen table.

There's a great club in London called The Secret Sundays, and it's on a Sunday afternoon and it's outdoors, and it's mainly Italians that go, and they all look great, and they're dancing on the tables, and life's a party, and they're totally into the music, going mental, and that's when dance music is really fantastic, I think.

Because I loved dance, I always need to be physical and moving, so photography that is more tactile made more sense.

I just love to dance and 'Cabaret' seemed like an opportunity where I could explore that. I wanted to take a chance and see if people will accept me in this kind of role, if what is expected of other women is expected of me. Or maybe it's for shock value.

I'm not ambitious; it is clear in my choice of work. I am fine doing a few dance shows in a month to run my household and take care of myself.

Look at where I lived! Four blocks from Lincoln Center. I used to play in the fountain. And then I started taking dance lessons. I was in 'The Nutcracker' for the N.Y. City Ballet when I was 8 and dancing in 'The Firebird' for George Balanchine when I was 9. Believe me, that's something you don't ever forget.

Talent will only take you so far, and it is your ability to feel the music and explore a movement that will bring you the greatest pleasure in dance.

I know that I'm talented, and I know that I'm not in American Ballet Theater because I'm black - I'm here because I'm a gifted dancer.

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.

I know what my talents are, and at the end of the day I'm an actor who can dance.

I would describe my dancing talents as incredibly deep.

I've been with Semperoper Ballet in Dresden, Germany, for five years - I wanted to escape the competitive dance world and go somewhere where I felt appreciated for my talents. Stateside, it was always kind of a struggle. And the competition? Not into it.

Gregory Hines was the most talented man I've ever met or seen. Gregory Hines is one of those people that whenever he talked to you, you felt like you were the center of the universe.

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 for 10 years. I was on a competitive hip-hop team, but then I, like, grew seven inches in one year - not really, but I grew tall and really lanky, and I lost all my coordination.

People tend to shy away from tall guys who dance, but hey, we can make it look good, too!

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.

I wanted to make something that, from the sound of it, could be down at the club. I just realised that I'd never heard Tame Impala played somewhere with a dance floor or where people were dancing.

I once went to La Boca district, where you can watch street performers doing tango, and joined in. But it's very hard to dance in Birkenstocks.