A Quote by Alfonso Gomez-Rejon

I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman. — © Alfonso Gomez-Rejon
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
Emeric [Pressburger] was completely cosmopolitan. That's what makes their [with Michael Powell] films so special. Neither of them thought twice about making a film about a friendship between an Englishman and a German during the Blitz. They were genius.
I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
Violence is a form of cinematic entertainment. Asking me about violence is like going up to Vincente Minnelli and asking him to justify his musical sequences.
Certainly, I've loved musicals for a while, so I did some short films in college that had musical numbers and things like that, so I've kind of been obsessed with Fred and Ginger and Vincente Minnelli and Stanley Donen and Jaques Demy forever.
That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
The weird thing with 'Kismet' is that Vincente Minnelli didn't know what to do with a Cinemascope camera for that film - so he never moved it! It's like in the old days when sound first came in and was so complicated that the camera just sat there. There are hardly any close-ups in 'Kismet,' so everything's at a bit of a distance.
[Bob Fosse] was a temperamental fellow - it was his way or the highway.
The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
Michael's Powell art director was a painter and they had a wonderful friendship and artistic understanding. Michael himself, in the way he designed his own house, it was always with bright colours. Very un-English!
I love music in general. It's like girls and their clothes and shoes; when you love shoes, you love shoes. So, for me, I think it's a really dangerous thing to say I'm going to write the best dance song in the world.
I remember being mad about having pink and red shoes. I gew up envying other girls' pink and red shoes.
I like to try to change things up a bit in the way that actors such as Philip Seymour Hoffman or Michael Fassbender did and do.
I love Nooworks, Mara Hoffman, and Monki, and ASOS just for the joy of ordering a pair of shoes in bed at 11 P. M. and them arriving the next day.
All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.
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