Ann Reinking Quotes

I may be able to concentrate on a move, but it may not look exactly how I need it to look like, as far as in the ballroom world. Hip-hop is different; it is a lot more flowy with ballroom.

When I coach dancers, I always like to get on the dance floor with them or describe something by showing them.

My choreography is very classically based.

The Fosse technique really does have to have a delicacy and an elegance to it.

I'm being trained to shake the bon-bon appropriately.

I love working with Alicia Keys, because it's not just the ability to do the dance to me; I think it's the ability to interpret it that excites me the most.

Tap dancing is all about the feet; you put your head down and don't really engage with anything but the rhythm in your head.

I think I'm the same dancer everywhere. But I've learned a lot with Bolshoi - the history of the theater, the technique of the theater, different nuances in my technique.

I love dancing; I adore salsa dancing and wish I could be in a Broadway chorus.

Tap dancers find it very difficult to do anything other than tap if that is all they have been trained in because, again, it's a whole different ballgame that you're constantly working on - bent legs, loose ankles - which you cannot afford to do when you're doing jumps or anything else.

As a dancer, obviously, we are all inspired by Michael Jackson, and I always looked up to Gene Kelly. He was a bigger version of Fred Astaire, and he was amazing as well.

The actual cheerleaders in our film are all Broadway dancers.

Tap dancing is something I love, and I've been working on it to get really good.

I'm weirdly flexible, so when I dance, I dance like a 17-year-old girl.

I'm heavily involved in the creative with choreographer Christopher Scott. I go to rehearsals with 'Glee' and then practice with LXD till about midnight.

The real American type can never be a ballet dancer. The legs are too long, the body too supple and the spirit too free for this school of affected grace and toe walking.

Astaire never thought of what he was doing as balletic, but Kelly was always trying to dance with women on points. And his choreography is so showy and flashy. He always looks self-satisfied to me.

'Swan Lake' is the most difficult thing to portray for a female ballet dancer; it really requires such specific qualities of articulation, agility, strength, and the arm work is something that takes a lot of training.

I love to dance. I have always been the first on the dance floor, but I'm not teachable. I couldn't learn 'five, six, seven, eight' if my life depended on it.

I love music; I love dancing. I took, like, eight years of ballet when I was a kid, and I still love dancing. There's been a couple of films where I was able to do some dance numbers, like 'Romy and Michelle' and 'Summer of Sam,' and I'm so happy when I get to do that.

I loved Fred Astaire's way of dancing. He led you into the dance.

Ditya Bhande is a nice dancer.

My movement is usually about finding the balance between artistry, athleticism, and musicality. It always originates with a classical basis and expands outwards from that platform.

I have rhythm, but I'm not a trained dancer.

I have learned a great deal from the theatrical side of Covent Garden. The Paris Opera Ballet is more concerned with technique. It's perfect. It's beautiful. It's well done. But it lacks the theatrical tradition that is so important in England. At the Royal Ballet, absolutely everyone on stage seems to be caught up in the plot.