A Quote by Columbus Short
What dancing has helped me with is blocking; it makes me comfortable with my body. You know how to hit your mark, you know how to embody a swagger. But sitting down and looking across the table at another actor and being able to go to battle on screen is nothing to do with singing or dancing.
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I know I always say my occupation is not dancing, but dancing is in my heart, dancing makes me feel good.
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.
With dancing, I think the reason it's worked for me, and I love it so much, is because I've trained my entire life. Once you train, you develop your own aesthetic and your confidence. So I think, as I grow, I'm learning how to be a singer. I'm training my voice and being on stage and singing and dancing.
When you watch me on the screen, you should not be able to recognise me. If people say, you're a natural and an organic actor, that's an insult. If you're being yourself all the time on screen, that means you don't know how to act.
As a former football player who has carried a football more than 4,000 times, trust me, I did not go into ballroom dancing with my body being 100 percent, with no aches or pains or ailments coming with me. When you're dancing, you're doing stuff that your body's not used to, and so you start to aggravate those old injuries.
I was okay with singing. I always sneak a song into everything I do. Dancing, a little awkward. Little embarrassed about that. I don't move well. But I was with a frog, so it doesn't matter. I'll do anything with a frog, that's my motto. He's great with tap-dancing or flap-dancing on my head. So no one's going to be looking at me when we're doing that dance. They're going to be saying, 'There's a frog dancing'.
I know, for me, dance did inspire me. Not just in how I feel but that confidence of being able to hold myself and come into a room and just feel comfortable with my body and how I stand and how you present yourself and just how you wear clothes, even.
Tell me how you could say such a thing, she said, staring down at the ground beneath her feet. You're not telling me anything I don't know already. 'Relax your body, and the rest of you will lighten up.' What's the point of saying that to me? If I relaxed my body now, I'd fall apart. I've always lived like this, and it's the only way I know how to go on living. If I relaxed for a second, I'd never find my way back. I'd go to pieces, and the pieces would be blown away. Why can't you see that? How can you talk about watching over me if you can't see that?
Writing is something that you don't know how to do. You sit down and it's something that happens, or it may not happen. So, how can you teach anybody how to write? It's beyond me, because you yourself don't even know if you're going to be able to. I'm always worried, well, you know, every time I go upstairs with my wine bottle. Sometimes I'll sit at that typewriter for fifteen minutes, you know. I don't go up there to write. The typewriter's up there. If it doesn't start moving, I say, well this could be the night that I hit the dust.
My definition [of genius] would be about being completely involved in your art form. So that's outside of sciences. Within the arts it's about taking people on a journey, being able to involve me completely-whether you're singing a song, whether it's in the theater, whether you're dancing-if you can make me forget I'm sitting in a seat, that's my definition of genius.
My go-go dancing was not your typical go-go dancing: I really was doing performance art. I would do dramatic, elaborate lyricals across the bar. I learned a lot, actually, as an artist during that time.
Soaps taught me the fundamentals of the game. You know, how to show up, hit your mark, how to be on time. That soap opera world is a microcosm of the entertainment culture.
I was a youngster looking up to dudes like Vicky McClure, Joe Dempsie and Michael Socha - in fact, he was a big influence on how I was able to detach drama from the all-singing, all-dancing stigma.
I was out dancing with one actress or another. And that got press. Even when it didn't, the whole town knew I was a dancing fool, and since I couldn't very well dance with a man, they saw me dancing with a lady, and they assumed the rest.
And here I am, instead of there. I'm sitting in this library, thousands of miles from my life, writing another letter I know I won't be able to send, no matter how hard I try and how much I want to. How did that boy making love behind that shed become this man writing this letter at this table?
He gives me a kiss that barely touches my lips – it means nothing or everything. After he’s gone, I think, Happy birthday to me. Jack says, ‘That was the guy?’ ‘That was him.’ Jake shakes his head. ‘What?’ ‘He’s not for you,’ he says. I say, ‘How do you know?’ but what I mean is, How do you know? ‘He’s like Ashley Wilkes,’ he says. ‘Any one of these guys is Rhett-ier than he is.’ Again, I ask my benignly inflected, ‘How do you know?’ ‘How do I know?’ he says, tackling me into a bear hug. ‘How do I know? I know, that’s how I know.
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