David Hallberg Quotes

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

I think that any actor - any artist, period - would love to work with an artist like Lee Daniels.

I love working with Alicia Keys, because it's not just the ability to do the dance to me; I think it's the ability to interpret it that excites me the most.

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 dancers are the real stars.

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.

Music is my life. I love doing it, so I just do it nonstop all day. And with dancing, I wanted to put on a show for people. I don't want to just be sitting there doing nothing, so that's when I started to dance.

The New York City Ballet is obviously speaking to a whole new generation and bringing it the same wonder and beauty that it brought previous generations.

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.

Obviously I always wanted to do a contemporary piece.

As long as there are dancers around who love to dance, there will be an Alvin Ailey American Dance Company. We miss him so much, but he's alive as soon as you see a dancer hit the stage.

Audiences love Paul Taylor, and so do I. Not everything, and not always, but year in, year out, he gives me more concentrated pleasure than I get from any other dance company.

One of the perks of being a 'New Yorker' cartoonist is that you get to hang around with interesting people. My fellow cartoonists are all interesting, and all highly creative.

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 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.

What goes on between the actor and director is sacred.

For the most part, I really love being in a collaborative thing. And in a collaborative thing if you have a singer as good as Sean Smith or Eddie Vedder, you kind of think, well, why don't you just go ahead and let them sing? People seem to really like it.

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

There are a lot of artists that I love, and I think they're really talented, and they're good dancers as well. I've always wished that I could combine that.

The relationship between an actor and a director is like a love story between a man and a woman. I'm sure sometimes I'm the woman.

I would love to work with Jack White or Kanye West.

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

Gerry Dow - he's like a fourth member. He lives in Sweden; his art work is more important than... it's just as important as the music and the stage show.

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.

I grew up always wanting to be a dancer and when I went to New York, I fell in love with the idea of performing in all ways.