A Quote by Jessica Stroup

I love getting to work with the stunt coordinator. It's like choreography, like a dance. — © Jessica Stroup
I love getting to work with the stunt coordinator. It's like choreography, like a dance.
There's a dance that happens with you and that's why I really like doing it with stunt men, because they know how to dance generally better than actors do. It is choreography and if you aren't used to doing it things can go wrong.
It's a balance. Like, we are shooting the big car chase at the end and it's me with everybody. And I got my stunt coordinator who shot some stuff and I'm like, you are right next to me, why don't we do it together.
I will do anything, and I do almost everything myself. But when there is something extra heinous to do, I have a great stunt double, Eddie Davenport, and a great stunt coordinator, Jeff Wolfe.
The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.
There's no thinking involved in my choreography... I don't work through images or ideas. I work through the body... If the dancer dances, which is not the same as having theories about dancing or wishing to dance or trying to dance, everything is there. When I dance, it means: this is what I am doing.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
And getting stunt coordinator Dan Bradley and everybody from the whole 'Bourne Supremacy' crew, I think was real cool for our film because we do a bunch of really big jumps in this movie.
Dance has helped me with everything. It was a great foundation for discipline, hard work and, unfortunately, the ever-elusive idea of perfection. It lends itself easily to fight choreography, because that's what it really is. Choreography. And knowing how to move with someone.
Work like you don't need money, Love like you've never been hurt, And dance like no one's watching. Dance is the only art of which we ourselves are the stuff of which it is made
Intimate scenes are like dance rehearsals - it's all choreography.
...there is a celebrated aphorism insisting that the best way to live is to 'work like you don't need the money, dance like nobody is watching, and love like you've never been hurt.'...After years of hearing and reading these lines I have decided to tell the truth: the original version is wrong. There is a grave error in the wording of this adage. The correct version should go as follows: Love like you don't need the money, Work like nobody is watching, Dance like you've never been hurt. See? Doesn't that make more sense?
As a performer, the more I scare the stunt coordinator, the better.
There's a lot of directing within the stunt coordinator's job.
I love the physical roles. I have the utmost respect for stunt people and stunt doubles, but I like to do as much as I possibly can with what's become some pretty significant training.
Most people say that Asian or female artists should be sexy in America, but I don't think that I have to be like that. I have a tomboy style. My choreography is not that way. So, I want to focus on my music style to match the choreography, which is really cool. No girls can dance those moves. I try to make them really fresh.
Repetition on things like that becomes quite painful. If you do a stunt sometimes it can look like a stunt.
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