A Quote by Donald O'Connor

I'm not a good choreographer: I can't remember what I put down. — © Donald O'Connor
I'm not a good choreographer: I can't remember what I put down.
I wanted to put all my family stories down for my girls, and I remember everything so vividly. I just wanted to put everything down while I still can remember it all.
A good choreographer is one that's going to collaborate, teach, guide - everything. The wonderful thing on 'Brotherhood of the Wolf' was that we had Philip Kwok - he choreographed John Woo's 'Hard Boiled,' and in the '70s, he was a martial arts actor, stunt man, fighter, choreographer in Hong Kong.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
You are not a female or a male - you are a dancer. And when I started going into choreography I became part of a team of people making movies. I wasn't a woman choreographer. I was a choreographer.
When you're a choreographer and you put so much into a routine that's emotionally driven, those are like my ideas and my little babies that I have here and then I put them out there and they're there to be judged and looked at. When it's all over, it's just such a relief.
A young choreographer often gets hung up on thinking they have to have all the answers. As a choreographer ages, they realize that they're more of a steward to movement. We mold movement and curate and form it into plausible and understandable stories.
I'm a really good driver. I've been driving since I was very small, and I do like driving fast. I remember the first time my dad taught me that when you go into a corner you change down then put your foot right down on the way out. I'm very competitive about driving.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
When I became a choreographer, I was not assisting any choreographer. I was assisting the director Mansoor Ali Khan for 'Jo Jeeta Wohi Sikandar.' I was the fourth assistant director.
I get into the studio and I try to make visible what's in the choreographer's mind. Sometimes a choreographer wants you to have an idea, and sometimes you are the idea.
I remember reading the book 'Rich Dad, Poor Dad,' and I remember writing my goals down, and my number one goal in life was just to be a good husband and a good father someday. That was number one, as a 17-year-old kid.
It's an incredible dilemma to be an artist of color and to always be in denial about that, saying, 'I'm a choreographer first and then I'm black,' when in fact, that's not the case. I'm black first and then I'm also a choreographer.
I work as a dancer, but I also work as a choreographer with couples that have a lot of tension between them, and as dancer and as a choreographer, being in this situation is very difficult. You see the energy doesn't flow, and it's very tense.
The choreographer and the dancer must remember?that they reach the audience through the eye.?It's the illusion created which convinces the audience,?much as it is with the work of a magician.
It is only our bad temper that we put down to being tired or worried or hungry; we put our good temper down to ourselves.
Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.
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