Camille Kostek Quotes

Do I watch dancers as people? Yes, absolutely. Do I watch really good dancers for specifically who they are? Absolutely, because how they move best and how they look best is going to be most familiar to them, and not necessarily to me.

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.

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

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

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'm very smart when it comes to choosing dancers and trying to show the world that there's a whole lot of dancing going on.

I found I loved musicals as much or more than the pure dance world. I also think I became tired of dancing for other dancers.

I frequently go to the ballet, but I don't miss it in the sense that I wish I were still dancing.

I go through phases of watching a ton of dance/performance, and I am bizarrely well-informed on the subject.

I've always thought of the process of creating ballets as being this kind of team effort. It's not like being a painter, where you have your paint, and you have canvas, and you just go at it. I'm working with these living, breathing, functioning human beings, and they have their own thoughts and ideas about what works well movement-wise.

Among my classical dances, I loved my 'Mrig Trishna' dance. People should try that on stage. I don't know why they don't. It's beautifully written.

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

I wanted to do dance with the same seriousness as art was done and acknowledged, not with the entertainment factor that is always connected to theater and film.

I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.

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.

I was really creative. I started to dance very young. I loved to dance. I begged my mother to put me into dance classes, and finally, in third grade, she did. Tap and jazz, but not ballet.

Who a dancer is physically feeds into character for me. Always has.

When the opportunity to choreograph came up, it was nothing more in my head but an opportunity. Then it suddenly became a career very quickly.

I love the way in which I make up dances. It's a complicated way and the product is usually clear. Clear and simple. I don't need everybody to know that there are all of these fabulous things going on. If you CAN see it, that's wonderful.

I don't really think about dance except just before rehearsals start. I put it off. I don't live my life thinking about dance.

I think the inception of my interest in arts was when I was around 9 or 10 and I started dancing. I was really convinced that I was going to go to New York and be onstage in 'A Chorus Line.'

I'm not naturally a gifted dancer, and I don't enjoy it.

I think it's one thing to be able to dance, and it's another thing to learn all the wonderful moments of dance because in my day... it was the moving of dance.

I was a little boy who watched 'Solid Gold' every week and wanted to be a 'Solid Gold' dancer. And I would do very in-depth reenactments of 'Grease 2' and 'West Side Story' with my sister Natalie in our garage. I was a very theatrical kid.

I started dancing when I was 5 years old. Ballet. Flamenco.