Movement Technique Quotes

When you're using your upper body to live, you get to know how to move every muscle.

My No. 1 piece of advice, especially for someone who's an actor-singer-dancer - a triple threat, they're called! - people say, 'What's the most important?' I always say acting. Without knowing why you're singing or what you're singing about, it's just noise. And without knowing why you're moving your body, it's just flailing of arms.

How to you use your lower body is a big thing you got to be able to use in the NBA.

We were tap-dancers but we put more style into it, more bodywork, instead of just footwork.

Footwork is one of the primary prerequisites to becoming a great player

I always liked dancing and you'd go to class and find you had an hour acting and an hour of ballet.

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.

You have to actually be weighted to something to do the moonwalk, you know.

Freedom to a dancer means discipline. That is what technique is for -- liberation.

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 was associated with Shaimak Davar for three and a half years and learnt a lot from him.

Whether it's dance or action, what's important is hand and body co-ordination. When you are a good dancer then automatically while performing action, the co-ordination is that much easier.

Ballet is a classically based art form, so it comes with a certain set of rules, at least to start with; then it's about how far you want to push from there.

Sometimes, when I break my hands, I kind of go too far behind my body, and what that will do, wherever my right arm's going to go, my left arm's going to go.

I had a great movement teacher - he showed me how to walk so I wasn't becoming like a cartoon.

Some actors have an affinity for dance, and they should explore it, train in it, and get good.

You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.

I'm a singer who moves well.

With Michael Jackson, when he moved, it looked like a martial artist to me. He was quicker than other dancers, but he didn't have muscles; he was just quicker and looked more in control of gravity. He looked like a martial arts master, so I tried to steal body movement from him; that's why I imitate Michael Jackson a little bit.

If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.

You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.

There's a style in modern dance right now called Release Technique. It's based on a feeling of falling and catching yourself, and I thought it was such a good metaphor for the way life feels.

One of the most important things, actually, when you're playing on grass, is to move.

Let me show you,” he said in my ear. “Like this. Feel that? Relax. Now pivot your hips—it’s all in the hips.