A Quote by David Copperfield

All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do. — © David Copperfield
All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.
I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
To go back to visit the early days with Bob Fosse and Gwen Verdon, when she was the dance captain of 'How to Succeed,' and finding them again 25 years later and working with them on 'Charity.' That was really great fun.
You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
No question that 'Birdman' is a breathtaking technical achievement, not a stunt. Shot in 30 days after a long rehearsal period, with the actors' and the camera's movements calibrated to the inch and the millisecond so the action flows smoothly, the picture has the jagged energy of a long guerrilla raid choreographed by Bob Fosse.
A few years later, when I was still going to these meetings, I was also "second-acting" every Broadway show [walking in with the crowd after intermission]. I snuck in to see Grease with John Travolta in kind of a secondary part and Adrienne Barbeau playing Rizzo, into Pippin, hung out with Ben Vereen and Bob Fosse. It was an amazing time for a teenager.
I have nine years of scholastic actor training, and what I've learned is that training does not an actor make. You have to have an artful way of looking at things. You have to have a certain point of view. And you get that point of view through experience.
[Bob Fosse] was a temperamental fellow - it was his way or the highway.
In the closing years of the nineteenth century, African-American historians began to look at their people's history from their vantage point and their point of view.
The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
I've learned over the years that people are human and have mood swings, regardless of how talented they are. Today, I'm looking at life from a realistic point of view instead of the way I would want things to be.
I would never know how good I was if I didn't have Bob Arum. Bob Arum is white, Jewish; He was working for prosecutor's office. I'm black, an ex-convict, ex-number runner. Who would be most likely to succeed? It would be Bob 100-1. Yet I beat Bob on everything we ever done, with love.
I would say, from an all-around point of view, Bruce Springsteen is one of the two great poet lords of America, Bob Dylan, coming out of the music world, the two of them.
The point of mythology or myth is to point to the horizon and to point back to ourselves: This is who we are; this is where we came from; and this is where we're going. And a lot of Western society over the last hundred years - the last 50 years really - has lost that. We have become rather aimless and wandering.
Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.
Look, Iraq and Iran would fight for years and years and years, it went on forever. They were almost identical strengths, and the line would never move, right? Then they would go home and rest for ten years and then they would start fighting and they'd rest, that was it. We knocked out one of those two pegs, and so now Iran is taking over.
Some say that now that 50 years have passed, we would like another 50 more years to celebrate once again; that means it will be 100 years. After one hundred years, I will be 118 years old.
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