I am absolutely desperate to do an action movie. And not to blow my own trumpet or anything, but I actually think I'm good at it. I did it all. I was really into the routines and the choreography. I used to dance when I was younger, and so I think that came in handy.
If I hear an amazing piece of music, I can't help but think of ideas, choreography, and everything that comes along with it.
The planet isn't improvising, it's creating dynamic tensions between complex living systems in a planetary choreography, a balancing act between physical, chemical, biological, environmental, and human components.
I'm not going to say it's easy, but I do have an ease with picking up fight choreography because of my dance training.
I realize that once I stopped fighting the technical process of how to move my body, I made it choreography.
When preparing for the fight choreography, the first thing I have to think about is what fits in the script. Whatever goes along with the story line and the character's personality; they have to be matched.
I'm not retired, I will continue directing films and doing fight choreography. I won't stop.
When working on my choreography I am not always receptive to outside suggestions or opinions. I believe that if you have something in mind in the way of a creation, such as a new dance, a sequence, or an effect, you are certain to come up with inaccurate criticism and damaging results if you go around asking for opinions.
One thing about skating that I don't think people focus on enough is the music factor. The music is a huge component of figure skating. It can dictate not only the choreography but the emotion. If it's not the right music it can ruin a performance.
I'm not interested in a group of people with some sort of incredible homogeny,a group that can do the movement I want. I'm interested in people whocan take the movement somewhere.
I consider myself kind of a reporter - one who uses words that are more like music and that have a choreography. I never think of myself as a poet; I just get up and write.
God creates, I do not create. I assemble and I steal everywhere to do it - from what I see, from what the dancers can do, from what others do.
At the beginning, ballet accounted for at least two hours out of six hours of my daily training session. Later I devoted less time to ballet, but every workout of mine included training in choreography.
I don't want people to think about one common thing. Coda is non-discursive, just like choreography for the stage. So each audience member's thoughts about it, or better yet, their feelings, will be different. Moreover, images contain so much information that one can see things that the next person won't notice. As a result, people will surely think about Coda in dissimilar ways.
You are not a female or a male - you are a dancer. And when I started going into choreography I became part of a team of people making movies. I wasn't a woman choreographer. I was a choreographer.
One time, the homie Venus[-X] read me; we were on the phone and she was like, "Girl, you keep wearing jeans and t-shirts at your shows, but the music doesn't give that." I was like, "You're right, I need to be the person that I am at school, making dance and choreography. I should think about the whole performance." That's when I put the 1 in my name and started dressing for the occasion.
I can always invent movement, and sometimes it can be fitted into the right place, but that is not choreography. It is the music that dictates the whole shape of the work. I do not believe in the permanence of anything in ballet save the purely classical.
Sometimes I go and I'll look at people's comments and then responses, covers, choreography and fan videos and after a couple hours it's like, uhhh this is a little like...I'm like don't indulge in right now.
I said, 'I'll give myself two years. If I can't support myself as an actress within two years, then I'll go back to choreography.'
Hauntings are memes, especially pernicious thought contagions, social contagions that need no viral or bacterial host and are transmitted in a thousand different ways. A book, a poem, a song, a bedtime story, a grandmother's suicide, the choreography of a dance, a few frames of film, a diagnosis of schizophrenia, a deadly tumble from a horse, a faded photograph, or a story you tell your daughter.
Chaos comes before all principles of order & entropy, it's neither a god nor a maggot, its idiotic desires encompass & define every possible choreography, all meaningless aethers & phlogistons: its masks are crystallizations of its own facelessness, like clouds.
And Toronto's own Sergio Trujillo has redone his choreography totally, showing all the comical invention that we know he's capable of.
Even if you perform with a great choreography, or a part of a great group, I believe you can’t imitate people’s aura.
No one has their own identity like the Ronettes did back in the day.
It's so tiring. Even though I've worn heels and performed the choreography for four years now, I'm still not used to it. When will I be used to it? In 10 years? In 20 years?
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