Quotes about choreographer (16 Quotes)


    When preparing for a concert, I do lots of training. I work with a choreographer to create great moves and then I have to keep my voice strong with lessons.

    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.





    There are several major fight scenes in the film, as Matt finds himself participating in an ever-escalating series of violent confrontations and Hunnam explained how much work went into these scenes. It's really about trying to figure out how to make it look as messy and out of control as possible, while being absolutely in control. We really didn't have any casualties at all through the course of filming. A little nick and scratch here, but for the amount of volume of fighting that we did, it's pretty amazing how little. ... This is an amazing fight choreographer, actually an American guy came over called Pat Johnson. He was the number one guy in Chuck Norris' fight team and of 198 bare knuckle fights he had throughout his career, he won 196 in knockouts. So he was definitely very familiar with the world of fighting, but completely unfamiliar with the specific world of Hooligan fighting. So I spent a lot of time with him, and obviously Lexi did also, just watching all of the tapes of fights. And this was a huge challenge for him because there's nothing at all choreographed about these fights.


    Part of the day would be spent thinking about the act, ... Eventually we brought the band in and had rehearsal space. It was a little frightening because I kept thinking, 'We need to get a choreographer, a music director, a comedy writer.' And Atom kept going back to wanting it to come from us. Ultimately, in a very short time, we had something going for the little bits that are seen of the duo performing in the film, just because we were forced to.

    Dancing was always part of my culture growing up in Barbados. When I shot my 1st video I worked really hard with my choreographer to perfect the routines.

    I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.

    And so begins Ailey Camp's ninth year in New York City. The camp, a dream of the late dancer and choreographer Alvin Ailey, introduces the arts to inner-city children. Through the arts, Ailey believed youth could learn important lessons that would help them throughout their lifetime. We want to provide role models for them, ... We want them to develop self-esteem and feel good about who they are, to begin to learn how to set goals and how to make decisions, to begin to carve out their own identity.

    We brought this one in because of Katherine Dunham. She was a choreographer and dancer from Joliet. There is some information about her in this exhibit, that's one of the reasons this exhibit was chosen. We try to arrange most of our exhibits so it has a Joliet connection.

    There are ballads, anthems, all musical styles. The music really moves the show along. As a choreographer, I tried to make the dancing true to the style of Elizabethan dance. And, when people bow, it's very specific. It's a four-count bow.

    Jim was in his element that day. He was a fantastic choreographer of words and he wanted us to pretend we were the SAS on a raid. We were to go in there, shoot 'em up, grab their beer and women and then bugger off. And that, of course, is basically what we did.

    You get used to working with one choreographer. You kind of get stuck in that vein and you work your way out of it, picking up someone else's style, their flavor. It takes a bit of time.




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