Jean-Michel Jarre Quotes

'Seven Sonatas,' with its flowing series of meetings between men and women in an identifiable emotional world, is in the mould of Jerome Robbins' glorious 'Dances at a Gathering.'

Paul Taylor's 'Offenbach Overtures' has lots of zip and charm, and its pair of dueling soldiers in red, who end up starry-eyed about each other while their disgusted seconds take up the quarrel, is nonstop funny.

I love opera, I love writing for the voice, I love telling stories with music.

My parents were opera singers and voice teachers, so growing up, I admired musicians and dancers.

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

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 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.

My mom thought I could dance because I used to dance to this Janet Jackson song she'd play when I was a baby. Then she would take me to a Saturday dance school. I used to go every week and got spotted by a scout, who suggested I audition for the role of Billy in 'Billy Elliot the Musical.'

I was a dancer for many years. I was a premier dancer with 'Porgy and Bess,' the opera. And I taught dance some, in different places.

Peaky' has attracted a lot of attention from different disciplines in the arts. It was originally going to be a ballet, which is Ballet Rambert, and there is also a lot of music artists who offer their music to the show to be used on the soundtrack.

I don't know if I would write an opera, maybe because of the words. But yes, I would be really excited to do it. I would certainly write a ballet or... I've done a lot of stage before.

Part of what I enjoy about writing classical music is communicating through the score and collaborating with such amazing musicians.

One of the first things I want do when I start writing music for a film is to create its own sound world, its own music world.

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

I met my wife, Doreen, who was a dancer in the show.

What interested me was dance - the way that it was constructed with time-space constructions, and that it was abstract. I always thought: 'Why couldn't theater be that way? Or an opera?'

When I was seven, I saw 'Sister Act 2,' and I fell in love with the performing aspect of music.

Growing up, I was a dancer. I wanted to be a choreographer.

I can't be enthusiastic as soon as I write something on the music sheet. The music sheet is only the beginning: it has to be listened to, played by the instruments, and then heard by the director, but most importantly, it has to be listened to by the public.

I grew up being a dancer, so I was always doing some sort of dance number, like the Tornado in 'The Wiz.'

You can go see ballet in its purity; you can go to a recital to hear music by itself. But what the American musical does so thrillingly is bastardize these forms into something that is exhilarating and compelling and deeply moving.

Writing music is just like writing a book.

I started off in dance. That was actually my first passion, which introduced me to music, which people don't really know.

I don't mind playing my music live. It's fun. But what my real passion is is writing music.

Some people ask me what instruments I play, but usually I'll just say I'm more of a producer or a composer or songwriter - those are my strongest suits: arranging and composing.