Robert Gottlieb Quotes

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

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

On the videos for '1234' and 'My Moon My Man' I wanted to make the songs visible. And, really, what way can you make sound visible other than good old naive dancing? I was working with a choreographer, but I'm not a dancer. Any notion of elegance is impossible with me.

When I was 12 years old, someone took me to see Martha Graham. It was nothing like what I thought of as serious dancing and even then I knew I was having a great experience. It was as if somebody was moving through space like no one ever did before.

What guarantees - or at least semi-guarantees - good ballets is good choreographers, and they are thin on the ground.

I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

I wanted to do new things with dance, adapt it to the motion picture medium.

Balanchine was just able to strike the balance between literal narrative and abstract dance.

I've always been interested in dance and want to be a trained contemporary dancer.

I think that story ballets, as great as they might sell, they're a really dated and awkward medium to tell stories through. I think there needs to be an updated or different approach to storytelling in dance. There needs to be less of a separation between the storytelling and the dancing.

I got the part [in Into the Forest], I started taking ballet again to try to regain my strength back. I actually love that it was changed to Crystal Pite's modern dance. And I wouldn't even really call it modern dance because it feels like it's in its own genre.

I would have to challenge the term, modern dance. I don't really use that term in relation to my work. I simply think of it as dancing. I think of it as moving.

The mystery of Christopher Wheeldon deepens. Yes, he's the most talented of the younger ballet choreographers - indeed, where's the competition? Yes, he's particularly good at nurturing dancers and identifying their essential qualities.

I started taking ballet lessons when I was three and a half and I still take dance classes.

In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.

I can't remember how many years it's been since I last saw a David Parsons program or what I saw whenever it was, but that isn't surprising, since I can't really remember the first half of a David Parsons program while I'm watching the second half.

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 love dancing; I adore salsa dancing and wish I could be in a Broadway chorus.

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

I find that dancers are only well trained in ballet these days.

I love ballet, and it's a little boring for me to go to the gym because I'm used to the dancing discipline - it's really hard but much more fun.

Bubbles was a very good dancer. Tremendous dancer. He was one of our leading dancers of the country at that time. And, of course, he didn't have much of a voice.

Modern dancers give a sinister portent about our times.

There's a line of dancers waiting to get into Sydney Dance Company.

I like dancers. I have a thing for girls who dance.