A Quote by Cyd Charisse

Sometimes it's a bit hard for a person to get the rhythm of music from the ear to the feet, but that's a matter of coordination. — © Cyd Charisse
Sometimes it's a bit hard for a person to get the rhythm of music from the ear to the feet, but that's a matter of coordination.
Sometimes Thomas Mackee will stick an earphone into my ear and ask me to listen to a song. When I get over the revulsion of putting something in my ear that's been in his, I sit back and let the music take over, and for a half hour there's something comforting about someone's heart beating at the same rhythm as mine.
It's hard to transfer one person's type of comic timing or approach to another person's. It's something you innately hear like a rhythm in your ear.
Some games you're going to be able to get rolling, you're going to get in a good rhythm, you're going to be able to get open looks. Other games, sometimes the rhythm's not there and you've got to get off it a little bit.
My body doesn't have any rhythm, you know. I've got quite good rhythm when I'm singing but my feet are very much two left feet.
He took her in his arms right away. "I'm so sorry," he murmured in her ear. He rocked her, saying it over and over. But no matter how many times he said it, no matter how much she knew he meant it, the words stirred around in her ear but didn't get into her brain. Sometimes he could comfort her. Sometimes he said what she needed, but today he couldn't reach her. Nothing could.
The Gaelic language itself depends very much on ear and rhythm, and when those who are thinking in Gaelic speak in English, they get the same rhythm.
Look, sometimes, no matter how hard you try, sometimes you need a bit of luck.
Sometimes I prefer when I can hear other people conduct my music so I can sit out and actually hear it. When you are in the middle of it, sometimes it's a little bit hard to hear and get the whole effect.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
If I get a bit big-headed, I get a good clip round the ear from my family and friends. I'm still the same person.
There's an easy way to tell if you have a good song. You get hit in the head with a message, and you get hit in the feet with a rhythm. You're beaten up with music. It's a beautiful thing when that happens.
I see things in hardcopy that I miss if I only see words on screen. I do get sick of the words, but I like to see everything spread out because I get a sense of scale that is missing from screen. Going over each sentence many, many, many times gives me incredible intimacy with sentences, especially their rhythm. The rhythm and music of words matter a lot to me and it only takes one misplaced word to spoil the music.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
We all want to be in love and find that person who is going to love us no matter how our feet smell, no matter how angry we get one day, no matter the things we say that we don't mean.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Sometimes I start with music on and then I get distracted because I'm working to a different rhythm; I'm not working to myself. So, I don't have music on when I'm working.
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