Robert Gottlieb Quotes

Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.

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.

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

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

Martin Joyce is a beautiful dancer and an amazing choreographer. He choreographed the Mulberry dance film I was in, 'From London with Love.' A truly talented man.

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.

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.

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.

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.

Choreographers, historically, are born, not made - their talents drive them to it.

I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse dancer.

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 have very strong feelings about dance and how it's shot.

I will never leave choreography and will keep doing songs, too.

I like dramatic ballets, particularly if they're ballets in which I have a chance to go from one extreme of style or characterization to another.

Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.

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

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.

I trained as a ballet dancer till I was 18, so I would really like to get back to it. I'd love it if there was a part that meant I could do both acting and ballet, as they're both so close to my heart.

Dancing is a tough career, but I'm glad I spent it at the Royal Ballet.

I have the most respect for Zach Woodlee. He is one of my favorite - and one of the most capable - choreographers out there right now.

I've always felt like an artistic person. I can't draw or paint or sculpt. I never really had technical skills, but I've always felt like I appreciate really beautiful things, and part of taking a good photograph is being able to recognize beauty.

I did community theater in Georgia and called myself a ballet dancer.

There's only a certain amount of space in every ballet company. You're basically on a team. You want to succeed as a group but all want to have the same roles.