Quotes of All Topics . Occasions . Authors
I remember the Food Network when it was first starting out: Emeril Lagasse and all those people who helped make it when it was on a shoestring budget. It actually encouraged me to start cooking.
The notion of the hero as outsider, as alien, is forget it, over, done with. It's not about being against society anymore. It's about standing there, holding something up. It's not pulling away.
When the movie get out and people see it. It's not just our neighborhoods that's going through the gangs and going through all type of turmoil; it's other cities and other states and other towns.
In those days, male dancers were a rarer breed than women. as they are still today, A good male dancer, one as strong as we were, was very difficult to come by if you couldn't afford to pay them.
I inherited the knowledge that sometimes (talents) not only skip a generation, but sometimes run screaming from it. Ironically, it was the singing non-ability that helped feed my love of laughter.
Any comic is a tragic soul. Comedy is one of the things that allows one to survive. Particularly if one has been in the process of separating off the emotions, it's one place you can process them.
Let us first teach little children to breathe, to vibrate, to feel, and to become one with the general harmony and movement of nature. Let us first produce a beautiful human being, a dancing child.
I feel that the work that I have done in the comedy arena, is priceless in terms of what I learned, timing, everything that these incredibly talented performers were generous enough in teaching me.
I was a drummer in a group called Three Plus. We were performing at a club in New York, and my mother signed me up for tap classes. I fell in love from the door... so you can blame it on my mother.
What we're looking for at my school is intellectuals. People who want to talk about the art and be knowledgeable about it. People who want to know the history. Not everybody needs to be performing.
My favourite TV show is 'Pretty Little Liars,' and I actually made a guest appearance on it. I didn't really have lines for my character, but I definitely want to get more into those kinds of shows.
The teacher doesn't teach, not really. The teacher offers stimulation and ways in which the person can educate himself or herself. At best the teacher wakes up that person and makes a person hungry.
It's nice that all the composers have said that nobody interprets a lyric like Fred Astaire. But when it comes to selling records I was never worth anything particularly except as a collector's item.
If you start watching the oldies, you're in trouble. I feel ancient if "Grand Hotel" or "The Bride Wore Red" comes on. I have a sneaking regard for "Mildred Pierce", but the others do nothing for me.
Friends, to me for years St. Louis represented a city of fear... humiliation... misery and terror... A city where in the eyes of the white man a Negro should know his place and had better stay in it.
Dancing is bigger than the physical body. Think bigger than that. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that. You're dancing spirit.
It sounds corny to say, but we're like a family. That experience for all of us really created a bond... The 'West Side Story' experience, it really is a family. There's a closeness that has continued.
Dancing has a continuity of its own that need not be dependent upon either the rise or fall of sound or the pitch and cry of words. Its force of feeling lies in the physical image, fleeting or static.
I was very happy with the success of 'Noise/Funk,' but of course, there is a lot more that I have to say about the dance, about the history, about the people involved with the dance and their history.
I love soup 'cause I don't like to cook. It's so easy to prepare, and it fills you up and gives you all the nutrients you need. It's a well-balanced meal, but you don't have to do a lot of preparation.
I've been auditioning for a few movies here and there. I don't want anything to get in the way of the music any more than it has. It hasn't really gotten in the way; I've been doing two things at once.
The first thing that was intimidating was when I started rehearsing to play Riff in the London company. That first day of rehearsal, I thought, 'Oh my God, I'm never going to learn this. I'm too slow.'
I think that probably the moments of discovery do come from a place that is not totally organized. Order is something that we already know about. Discoveries are in a place we don't already know about.
Never worry that rote exercises aimed at developing skills will suffocate creativity. At the same time, it's important to recognize that demonstrating great technique is not the same as being creative.
I would be in a room full of people being loud and running around, and I'd be in the corner just playing with the wall. So I was very, very quiet, but when I really got into the arts, that opened me up.
I would love to be an amazing singer. I take voice lessons. It's good to have as a dancer - to be able to sing and act, too, because for a Broadway show or musical, you have to be able to do everything.
My show mode is that the dressing room is like going into the cockpit. Going down the stairs is like going on the runway, and once we begin performing, it's flight time. I'm just floatin' on that stage.
Playwrights have texts, composers have scores, painters and sculptors have the residue of those activities, and dance is traditionally an ephemeral, effervescent, here-today-gone-tomorrow kind of thing.
I was born and raised to entertain other people. I've heard laughter and applause and known a lot of sorrow. Everything about me is based on show business - I think it will bring me happiness. I hope so.
The 1930s Hollywood was capable of hurting me so much. The things about Hollywood that could hurt me (when I first came) can't touch me now. I suddenly decided that they shouldn't hurt me - that was all.
There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.
The sound of tap is not 'clickety clickety tap tap,' this monotone thing. The sound of tap has depth. We want you to hear the different highs and lows, the bass, the trebles and the melodies, if you can.
When I say I can see through clothes, sometimes I try to use it as an X-ray vision to look into the dancer and see who this dancer is right now, at this exact moment in time. I live inside them in a way.
I didn't smoke. I didn't smoke then, and I don't smoke now. We worked every day - that keeps you in pretty good shape. We could go for a long time in one take. You had to be in good shape with Gene Kelly.
I had always known what I wanted, and that was beauty... in every form... a beautiful house, beautiful man, a beautiful life and image. I was ambitious to get the money which would attain all that for me.
The way I enjoyed spending time most was dancing. That's from the time I was a very small child, When I was 4 or 5 years old, I remember already having a regime. It was the way I always identified myself.
I was learning the importance of names - having them, making them - but at the same time I sensed the dangers. Recognition was followed by oblivion, a yawning maw whose victims disappeared without a trace.
At 14 I discovered girls. At that time dancing was the only way you could put your arm around the girl. Dancing was courtship. Only later did I discover that you dance joy. You dance love. You dance dreams.
The judges are fun because they bring different personalities. And it's also really exciting to work really hard all week and then have them either give really good praise or to give constructive criticism.
I thought I had to make an impact on history. I had to become the greatest choreographer of my time. That was my mission. Posterity deals with us however it sees fit. But I gave it 20 years of my best shot.
Acting. Whenever I am playing a character, I use my real life experiences, which puts me on the line of reliving some of those good and bad times. Acting requires risk, and that's what feeling vulnerable is.
They were grooming Doris Day to take over the top spot. Jack L. Warner asked me to play her sister in one picture. I said, "Come on, Jack. No one could ever believe that I would have Doris Day for a sister."
I ran away from home. I ran away from St. Louis, and then I ran away from the United States of America, because of that terror of discrimination, that horrible beast which paralyzes one's very soul and body.
Dancing is being trusted with other people's guts; choreographing is trusting other people with yours. When I choreograph I'm giving a dancer something to do and trusting the dancer to do it and build on it.
I like Sam Smith and Taylor Swift. I love pop music, but I also like Sam Smith's slow songs. That would be more to dance to. I think dancers like different genres of music, compared to just a regular person.
Easily acquired. Inexpensive. Perfectly functional. Portable. Identifiable. Disposable. Eternal enough. These are my criteria for the perfect storage system. And I’ve found the answer in the simple file box.
I can't emphasize this idea enough. Getting involved with your collaborator's problems almost always distracts you from your own. That can be tempting. That can be a relief. But it usually leads to disaster.
I'm obviously always interested in the dancer who's an athlete and vice versa. I expect dancers to be in condition like an athlete is and to challenge themselves in the same way, to the same physical degree.
For filming, we have to wear a lot more makeup than we usually would. At night, I have to go home and take off all the makeup and take my hair out from my bun and just get out of the dancewear and everything.
I think the thing that we agreed to so many years ago, actually, was that the music didn't have to support the dance nor the dance illustrate the music, but they could be two things going on at the same time.