Robert Gottlieb Quotes

My first professional relationship, I danced with the Parsons Dance Company, and David Parsons, my former boss, allowed me to choreograph on the company.

Choreographers use me as the old guy who still dances. Not that I put on white tights.

I was married to a dancer who had a dance company in New York City, and she toured.

I would love to compose something for dance before I kick the bucket, and I'm not closed-minded about the dance, or the dance company.

Dance is so prominent, now more than it's been before, but I still feel like there's this void that needs to be filled that tells the story of a contemporary dancer who is in a company - I don't know, just that's my dream to do that.

I was privileged to be able to study a year with Martha Graham, the last year she was teaching.

I actually build my dreams around the dancers I've got in my company.

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

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.

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

When you deal with a person who's experiencing dementia, you can see where they're struggling with knowledge. You can see what they forget completely, what they forget but they know what they once knew. You can tell how they're trying to remember.

It never occurred to me that I'd have a dance company.

All I do is watch dance videos. I love Ricky Ubeda, who is a contemporary dancer, and I also love Madison Cubbage. They inspire me to work harder every day.

I always want to have more dancers in my company.

Seeing 'Revelations' made me want to be a professional dancer.

I was a late bloomer, but I had a career as a contemporary dancer before that, so I had some kind of connection to this world. But I was always a little more in love with the drama of dancing than the aesthetics, so I thought, 'Why don't you give it a chance if you think you can do it a little different?'

There's no point pretending that all of Martha Graham's pieces are equally strong.

I would love to compose something for dance before I kick the bucket, and I'm not closed-minded about the dance, or the dance company. I would really just love to collaborate on that.

My great frustration is that, more and more, my memories come and go, and friends all my life are not recognized. Many of the things I say and do, I can no longer remember even right afterwards.

For me, a dancer is part of an artist's entertainment - 'backup dancer' isn't even in my vocabulary.

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.

When I look at the people who are the guiding figures in modern dance, I think, 'This does not look to me like the way I want to spend my days.'

I had always choreographed a little, beginning in high school. And I leaned toward choreography. I always had an overview of what was going on.

Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.

The best thing you can say about Hubbard Street is that if you were a dancer, this is a company you'd fight to get into.