A Quote by Ann Reinking
It's all cyclical. Sometimes things just come in packs. At one point you had this collection of great choreographers where you would see eight bars and you would know definitely who did it.
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As a good picture would come, I would never know exactly what I had done. When you did see it, it would strike you as a great surprise - who did that? How did it happen? Being surprised by your own work makes you both less serious and have serious reverence.
When I started 'Record Collection,' I had no idea that it would come out sounding the way that it did, and that's one of the best things about the creative process, taking turns with the things you didn't know.
You had to give, uh, a lot of consideration to the fact that, uh, the artist had to come back into the mike area and start singing, especially the background singers, you know. And you had to make sure they had a couple of bars of music in order to catch their breath. And uh, in many cases a lot of choreographers didn't give that, uh, the proper thought.
[on River Phoenix] I would love to see what kind of choices he would be making now if he was still around, some of the characters that he would have played. I mean, to me he was like a rock star, you know, he had it all: he had the looks, he had a great name, he had an attitude, an energy, an excitement about him. He was instinctively like a, he was a rebel, you know? He was kind of Bob Dylan to me, at times, and he had a lot to say. And I've never seen too many interviews by him, but the ones that I saw were pretty electric, pretty... he was switched on, definitely.
My Picassos and Ferraris - those are kind of just toys. Those aren't the things that matter. What matters in the car collecting or the art collecting is to learn about it, and then actually not the acquisition but to put them into a collection that I think is curated. You know, so something of me in the collection that the artist actually created the work. If I was going to collect art, it had to be something of me, my eye, things that appeal to me so when I looked at it, it would really look like a collection, not just an accumulation of stuff.
I would like to work with Ed Sheeran at some point. I really admire his songwriting, and I just think he has a great voice and great artistry. Who else? On the producer side of things, definitely Diplo: that'd be awesome.
Sometimes, immersed in his books, there would come to him the awareness of all that he did not know, of all that he had not read; and the serenity for which he labored was shattered as he realized the little time he had in life to read so much, to learn what he had to know.
The way so many musicians slavishly imitated Coltrane, that's the way it was with Charlie Parker - only even more so, if that can be imagined. Everyone that I knew changed totally. But they took the worst things of his playing-that harsh sound; it just didn't come off the way they did it. The way he did it was great, Their way wasn't good at all. I just would listen to 'em, say: 'That's a Bird imitator', and that would be it; I would never care to listen to them again.
One of my homeboys from my neighborhood had actually taught me how to rap. He was the rapper and we would all go over to his house. It would be like 10 or 12 of us in there and he'd write everybody's rap in the house and would give everybody four or eight bars.
I knew that one day I would come to this point that I would make something so outrageous and so ambitious that... it'd be that Don Quixote feeling, that I'd have to tilt at a windmill. Sometimes you've got to do it. That's the only way you can do things.
I would definitely say Zombie has been the best time I've ever had. It is just so great and so fun because, you know, we all get along so well, and, you know, it's just like, everybody, we're just all friends here, and we're just having a really, really, really great time.
We played in bars and other such establishments and anywhere where people would listen. Sometimes they did, and sometimes not. The outfits we wore were classics of the 50's.
I go to see the clothes [I designed] in the shops, and of course they're not perfect, and I see only the imperfections. But it doesn't mean it's a failure-you just think, I wish it could be better than this. Sometimes I cannot achieve what I really want to do in just one collection, so in the following collection I do it again. There are certain things I've been working on for three years.
I know great songwriters. Fred Neil would come up when he was in L.A., we all used to hang out. He would sit there and sing, and we would just melt. I mean, we would go to his recording sessions.
You know, or three kinds of ice cream bars and you'd see this and like this... okay they could clearly benefit from some more choices and I remember having these discussions with the Japanese because they you know they often like to go to Hawaii for vacation because it was definitely much cheaper for them and I would ask them, "So when you go to Hawaii, you know do eat all these other things?"
As a person, when I was seven or eight, my dad would try very hard to tutor me through school because I had learning difficulties or whatever. I would wish that they could just plant a chip in my brain so that I would know everything and not have to study.
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