A Quote by Chesney Hawkes

It feels like I've been dancing for years. — © Chesney Hawkes
It feels like I've been dancing for years.

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I'm so bad at dancing that I've actually been in two movies where the director of the film saw me dancing and thought it was so funny that in one movie they had me do it as the mental dancing of a real simple person. The other one was, like, to-be-laughed-at dancing. That's how bad my dancing is.
I love music; I love dancing. I took, like, eight years of ballet when I was a kid, and I still love dancing. There's been a couple of films where I was able to do some dance numbers, like 'Romy and Michelle' and 'Summer of Sam,' and I'm so happy when I get to do that.
I have been photographing people dancing for 20 or 30 years now, and I think I will eventually do a book of dancing photos.
I've been on Prozac for 12 years and I'm off it now. I know what it feels like to be excited and sad again. I haven't felt like this in 12 years; I'm like a giddy little kid.
You have to be aware. Like, I'm not going to do any downhill skiing. It looks like a whole lot of fun, but I'm not going to risk breaking a leg. I want to be dancing the way I'm dancing now for 30 more years.
I was a painter, then a novelist, then a journalist, then a screenwriter, and now I'm a director, and it feels all part of the same continuum. One led to the other, and it just feels like the natural confluence of all the ways of storytelling that I've been doing for almost 30 years.
One thing about Los Angeles is it feels like it's not new. It feels like it's already been built, and it's deteriorating, except for the places they're trying to make nicer. But in general, you drive all through the city, and the city feels like it was new a long time ago.
I've been dancing for 10 years.
It's more like the inner workings of John Bender. He feels like he's been given a short shrift, he's not been provided the opportunities that maybe these other kids have. So he feels like he begins in a hole. And instead of trying to raise himself up, he wants to bring all of them down. That's a dynamic that's pretty universal. And so that was the real foothold on that. It wasn't like, "Oh, my high school experience is like John Bender's [in St. Elmo's Fire]."
In 10 years' time I still want to be at Arsenal, winning trophies for my club and for the national team as well. I've been there since I was nine or 10. It feels like I've always been there, the club's been great to me and I feel I owe them that to be there and to stay around.
There was a lot of dancing in '76, '78, in the '80s. A lot of dancing. The burn years. A lot of dancing. And for a while, working fit in with all that. 'Moonlighting' - that wasn't acting. It was people telling me 'Let's create a character who is you, so you can play him the way you are. The guy you are at night.' It was fun.
I've been dancing since I was two, learning so many different styles. I like dancing to rap and hip-hop, but also the Strokes, the Hives, and the Vines with carefree randomness. There's always a way to move to something.
I started dancing when I was four years old and then was in class until I was about 20 years old or so, and then primarily was dancing just in shows that I was doing, but not really studying and training.
One voyage to the East and a man could live as rich as a lord until the end of his days. When he'd been younger, Davos had dreamed of making such voyages himself. But the years went dancing by like moths around a flame, and somehow the time had never been quite right.
First of all, break-dancing has been done for years, though not all of it put together the way it is now. But, actually, the distinctions have been blurring since the 1950s.
100 years of Indian cinema has happened. Anything you do, feels like it has already been done. The struggle is to find a new and unique idea.
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