Choreography Quotes

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 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.

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.

Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.

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.

I kind of lost interest in the classical dance. I was very much interested in the modern choreography.

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.

I always thought martial arts was the most modern choreography we could have right now, and I always wanted to put it to music.

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.'

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.

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.

Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience.

I wish I could blame it on the choreography, but it's not a musical. I just had a clumsy moment.

Yes, Carl Vine stuck around. He's now number one composer for choreography.

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 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.

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.

The costumes had to serve the choreography.

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.'

Choreography is mentally draining, but there's a pleasure in getting into the studio with the dancers and the music.

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.

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.