Suzanne Farrell Quotes

Ballet needs figures that people can recognize and relate to. People don't know ballet dancers as well as they know other artists.

I'm trying to create ballets that I would enjoy seeing.

I've always been excited by the strangeness of ballet, but I can't bear it when people just come forward and do a turn in the air for no reason.

I don't have a favorite genre. I love to work and live vicariously through every character. It's all about trying to bring the character to life and get the story across in a way that resonates with the audience. It's always interesting and challenging in a gratifying and unique way.

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?'

I was a ballet dancer and that kind of bled into musical theater. I was constantly in rehearsal for one thing or another.

Each role demands the right actor. To play an artist, one must be an artist.

For ballet dancers, style is about melding personal expression with physical form.

My intention is to make sure that the new work being created for the ballet world is relevant.

If anyone is calling me to choreograph a dance, they know my style, and they know I am a taskmaster. They want to present themselves as a good dancer before their fans, and that is why they want me to choreograph.

I like to express myself inside of the work that is given, and I let the dancers do the same.

I do feel like anything benefits from character logic. That can be from the dumbest ad to the greatest Shakespearean drama to the silliest 'Saturday Night Live' sketch. There is a certain specificity in detail, which you can get when you're paying attention to stuff like that.

Sometimes I feel like my normal approach to roles has been, 'I want to be more complex, dynamic.'

It's such a gift when you know who you're writing for and you know that that actor is capable of so much that you can relax a bit.

I've admired Lawrence master from his choreographer days. I love how he experiments and makes it work. I like his attention to detail and the intrigue in his movies.

When I am filming a movie, I think I tend to do what I want with my character.

Strictly' has evolved - there are such beautiful stories within each dance. We're not doing a ballroom and Latin competition, it's an entertainment show.

What we portray on the ice is really important to us, and we love getting into character and telling a story.

I keep starting supergroups, writing ballets and things like that.

My go-go dancing was not your typical go-go dancing: I really was doing performance art. I would do dramatic, elaborate lyricals across the bar. I learned a lot, actually, as an artist during that time.

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.

I'm just trying to give the best human expression that I can to any particular genre, which could be comedy, could be drama, could be horror, could be thriller.

I have never planned my career. I chose those films with which I could relate myself. But if given a chance, I would love to do the kind of roles Meryl Streep has done.

I taught and studied dance in college, and for over a decade, I thought that would be my career: tap dancer, ballet dancer, modern dancer. I still find myself doing some tumbling or interpretive dancing in the grocery store every now and then.

That's one of the really cool things about being an actor. You get to explore all different parts of yourself.