A Quote by Damien Chazelle
I've always, especially through old Hollywood musicals, loved just to watch tap dancing; I adore it. I think it's fantastic.
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My brother became so enamored with that film [West Side Story], that he started taking tap-dancing lessons, and I followed him and started tap dancing, and my mother and father started tap dancing - I was in a class with my family, tap dancing!
I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.
Everything has to be intrinsic plot-wise in the same way, to use the Linda Williams analogy but to move it on a bit, as musicals - in old musicals, like in an old Cole Porter musical, you get the action, then they do a song, which reflects a moment - everything stops while that is being sung - and then you restart. These days in most musicals, the plot keeps moving through the song. I think it would be nice if someone constructed some pornography where the sex continues to propel you through the story.
I think the first role I ever played was the Magic Carpet in 'Aladdin Jr.' I did a lot of tap dancing and not a lot of dialogue. But I loved it so much, and I loved the way people responded to the characters.
I think 'Tap Dogs' has lasted so long because people have a natural interest in tap dancing. This form of dancing can't be dated, it's such an intriguing form of dance because the feet are also an an instrument.
I grew up dancing. When I was three years old, my mom would always watch Latin ballroom dancing competitions on PBS.
I've been dancing my entire life. Jazz, hip hop, ballet. And then there's tap dancing. I love to tap.
I've always had a thing for old movies, old Hollywood. I've always just loved watching Marilyn Monroe and Greta Garbo. In all of those old movies from the '40s and '50s, women put themselves together so well, with a little bit of drama and elegance. That was fascinating to me growing up.
I always loved all kinds of music. I would watch musicals a lot as a kid, on TV, watch the Fred Astaire movies. I'd watch 'The Wizard of Oz.' I was a big Jerry Lewis fan, and they'd have these big bands and someone singing - some siren, or some guy singing some gorgeous song. I was always enamored of that style of music.
Tap's foundation is jazz, just like hip-hop, so relating tap-dancing to rap is natural for me.
My mother loved Gene Wilder when I was growing up, so I used to watch all his movies with her. I just adore him.
There are many different styles of, and approaches to, tap. My own leans towards a more intellectual view: tap dancing not just for the sake of entertainment but to educate and spark emotion.
I grew up watching guys - like, I loved Mick Foley's ECW promos; I loved CM Punk's promos. There's this guy, Eddie Kingston. He was just a fantastic talker, so I used to study and watch him. I mean, gosh, there's just such a big list of guys who I used to study. I used to watch promos as much as I did matches.
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 loved living in Hollywood - and the weather there was just fantastic - but there is something about rural England, and especially Suffolk and Norfolk, that pulls at my heartstrings.
Tap dancing all started with the old clog waltz.
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