Brin-Jonathan Butler Quotes

Darling, the legs aren't so beautiful, I just know what to do with them.

It's all about the sensuality of movement, every movement you make. That's why I love doing action movies. It's all about movement, dance - even if you're hitting someone in the face. You've got to sell it all with great passion. There's a narrative to the body. It's exactly the same as dance.

I can tell by the way somebody walks if they can dance or not. Just by the rhythm.

I like to pace onstage.

Part of what's mesmerizing about 'The Mechanics of History' is its physical eloquence - how dancerly it is. The men don't fall; they float. And when the trampoline restores them to the staircase, they move at a half speed. Cinema, they say, is 24 frames per second.

I'm a very physical actor.

Dancing has a continuity of its own that need not be dependent upon either the rise or fall of sound or the pitch and cry of words. Its force of feeling lies in the physical image, fleeting or static.

Before you get into the mind, you have to inhabit the physicality. Body language is a great way of speaking.

Ballet opens up the chest and the arms and elongates the body, so you carry yourself straighter. That's so important for a model. But also every woman.

I've never been a twerking kind of girl. I've always relied on my talent.

If anybody can really beat me, fine. But that's the only way I'll go down.

I am Olympic champion for life, and I have learned to enjoy what that means.

While dancing you have to be feminine, and performing action requires you to be masculine.

I did ballet as a child and started again seven years ago. I love that you hear this exquisite music, and for a moment, you feel like a thing of beauty; it's changed my awareness of my body.

Just having the whole control over your body is so important when you're modelling - to just be able to know exactly what you look like and what you're doing.

I realize that I'm not a great dancer. I've given up the hip-shaking. I don't pelvic thrust anymore. Those were the beginning days of T. R. learning how to dance. But I love it, and I've taken a few choreography lessons. But other than that, I kinda just feel it, I guess.

The salsa is all about hips, being confident and sexiness.

When you dance, you own everything you have. You are really in your own body. You do it with your muscles and your bones and your weight and your height - it's how to love yourself by moving.

I use my hands a lot while acting.

For me, the costume is 50% of everything. It informs posture, it informs flexibility, it informs the way you walk, it informs what the character is capable of doing, at any time.

You have to work with your body when you dance; you can't shy away from your physicality. For me, it's really linked to an incandescent way of accepting yourself and projecting. The dancing was at the core from the beginning.

I'm proud when my dance numbers are spoken about for my expressions and steps.

In all these years of doing theatre, I've been a very physical performer - physically demonstrative, yet sticking to the realism of the piece.

Generally, I don't need any music to dance. For me, dance is not because of the music. It is simply because I've found the rhythm of life.

'GLOW' was the first time that, from head to toe, I was asked to use my body in a functional, powerful way as an actor - and that felt amazing.