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.
Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.
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.
When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
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.
I kind of lost interest in the classical dance. I was very much interested in the modern 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.
When I finally decided to do the show, I only had two weeks to learn the choreography and the songs in French.
Master technique and then forget about it and be natural.
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
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.
War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
Dance is a song of the body. Either of joy or pain.
I liked the choreography, but I didn't care for the costumes.
When you start with an idea, or something hits you, then you have to follow that through to the end, and it's the following through to the end that makes the pattern. That, for me, is choreography.
The main thing, of course, always, is the fact that there is only one of you in the world, just one, and if that is not fulfilled then something has been lost. Ambition is not enough; necessity is everything.
Directing is very close to choreography; you deal with space, time, emotions, lighting, making beautiful images.
Dances without purpose have false starts and stops.
There were some parts of the film [Swiss Army Man] that the Daniels [Kwan and Scheinert] really wanted to look as elegant as a piece of ballet. As Hank and Manny go on in the story, they get better and better at being with each other and more and more adept - Hank knows more and more what Manny's going to need at any given point, and having that choreography helps a bit.
I think Balanchine and Robbins talk to God and when I call, he's out to lunch.
For me, choreography is a process of physical thinking. It's very much in mind as well as in body.
There are shortcuts to happiness, and dancing is one of them.
I've always been athletic and a dancer, so I love doing fight choreography.
There's no thinking involved in my choreography... I don't work through images or ideas. I work through the body... If the dancer dances, which is not the same as having theories about dancing or wishing to dance or trying to dance, everything is there. When I dance, it means: this is what I am doing.
I don't try to dance better than anybody but myself.
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