Karen Kain Quotes

When I was doing 'Tales from Hollywood' at the National, I was invited to dinner by the choreographer, Kenneth MacMillan. He told me I had the heart of a dancer and asked me if I'd like to come on at the end of 'Romeo and Juliet' as a friar. I said I'd love to, but sadly, MacMillan died shortly after.

Dance has always been my number one. I started when I was seven years old and I've had the opportunity to work with some really amazing artists.

I have worked with several dance companies.

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

Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.

There's nothing like the force and challenge of a new ballet to galvanize everyone involved in bringing it to life.

I've created, directed and choreographed for Lady Gaga since the beginning, so 'Born This Way,' this was musically such an amazing evolution and such a brilliant record. So when she played it for me, it took me a while to find out the visual interpretation that I could give back to her.

There are certainly some artists in New York that I would love to work with. One is Sarah Michelson.

I cherish the ballets made for myself by Mr. Balanchine. He never lost his temper. He was quiet, humble, the genius of the 20th century.

I collaborated on most of my dance numbers, literally 50/50, with the choreographers I worked with.

I never studied with Balanchine, but his work was very important to me.

I was a Spanish dancer. I don't mean to put that down, because that was great, too, but nothing like the kind of dancing you had to do in 'West Side Story,' which was called jazz.

I would have loved to work with Cranko. I love stories. Even though I like a lot of style - Forsythe, Maliphant - I have this childish side that likes stories.

I enjoy the freedom of modern dance as well as the constraints of classical dance.

I suppose I'm the only person who remembers one of the most exciting of his ballets-it's the fruit of an unlikely collaboration between Nijinsky on the one hand and Sir Arthur Conan Doyle on the other.

I got the part [in Into the Forest], I started taking ballet again to try to regain my strength back. I actually love that it was changed to Crystal Pite's modern dance. And I wouldn't even really call it modern dance because it feels like it's in its own genre.

I want one word on my tombstone - dancer.

Mia Michaels is to my mind one of the most interesting choreographers alive right now and my colleague and my friend from So You Think (You Can Dance).

We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.

Ballet found me, I guess you could say. I was discovered by a teacher in middle school. I always danced my whole life. I never had any training, never was exposed to seeing dance, but I always had something inside of me. I would love to choreograph and dance around.

A dancing movie with Remo is something I would love to take up.

Dance has been a driving force in my life for 25 years. From music videos and hip hop, to jazz and musical theater, to ballet and classic modern dance, I have had extensive exposure to a variety of techniques that inspire my own electric style.

Working with a great director is wonderful for an actor because it means that you're not forced to take the advice of an idiot.

Merce is my favorite artist in any field.

Dancers today can do anything; the technique is phenomenal. The passion and the meaning to their movement can be another thing.