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.
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.
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.'
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.
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.
Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.
The costumes had to serve the choreography.
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.
Once you have the pattern of life of this person, the choreography, so to speak, you have the canvas that you present eight times a week, not without feeling underneath it, but it's not as churning as the discovery process was.
I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing. I have never been a person who wanted to just dance. I have always been interested in developing for other people.
Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.
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.
Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience.
I always thought martial arts was the most modern choreography we could have right now, and I always wanted to put it to music.
I kind of lost interest in the classical dance. I was very much interested in the modern choreography.
Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.
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.
© 2020 Inspirational Stories
© 2020 Inspirational Stories