A Quote by Jillian Hervey
The people that have inspired me the most were dancers and choreographers.
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The people that have inspired me the most were dancers and choreographers. Even growing up, if I dealt with any pressure to be a certain way, I knew that as an artistic lane, dancing was the one that was a little more freed up - like, no one in my family is really doing that; I can be that person.
It's kind of become a journey about the dancers, but dancers are the reason why this show is so successful. They are the choreographers, they are the teachers and if not for their hard work, there would be no 'Dancing With the Stars.'
What makes people and companies and artistic directors and choreographers interested in working with dancers is the ability to kind of let go of everything you think you know and be a blank canvas.
The mystery of Christopher Wheeldon deepens. Yes, he's the most talented of the younger ballet choreographers - indeed, where's the competition? Yes, he's particularly good at nurturing dancers and identifying their essential qualities.
Choreographers tend to treat ballet dancers like kids they can manipulate.
I could never be Charlie Chaplin. But the films that were made by people like him, or Gene Wilder, or John Candy, the people that inspired me so much were the people that were able to combine humor with heartbreak so beautifully and fluidly. Those films I think were what inspired me to want to come to L.A. and audition for movies.
All writers, musicians, artists, choreographers/dancers, etc., work with the stuff of their experiences. It's the translation of it, the conversion of it, the shaping of it that makes for the drama.
One of the eternal mysteries of ballet is how untalented choreographers find backers for their work, and then find good dancers to perform in it. Is it irresistible charm? Chutzpah? Pure determination? Blackmail? Or are so many supposedly knowledgeable people just plain blind?
It's normal; Arab women have always been very active at the forefront of culture - as film producers since the 1920s; as singers, dancers, choreographers, writers for much longer than that.
The number of e-mails and letters that I get from choreographers, from sculptors, from composers who are being inspired by science is huge.
I think Splash made people realize that I was still alive, and I think I inspired a lot of people. I have people coming up to me all the time in the airport saying, "Hey, you inspired me to learn how to swim!" "You inspired me to start moving around more." "You inspired me to start doing more for myself." So that was good. But mostly I took it because nobody had given me a job. And you know what really matters in life, right?
I've had a lot of little girls write to me saying that they want to be dancers and that I've inspired them.
Do I watch dancers as people? Yes, absolutely. Do I watch really good dancers for specifically who they are? Absolutely, because how they move best and how they look best is going to be most familiar to them, and not necessarily to me.
You cannot dance physically certain things. But look at tango dancers or flamenco or Japanese classical theater. You can, if you're smart enough and you collaborate with the right choreographers, you could really dance your age.
I don't have many actors in my family, but I do have a Great Uncle that is a film-maker in Philadelphia, and my great-great-grandparents were Flamenco dancers in the 30's in New York, they were Spanish dancers.
The strange thing about my life is that I came to America at about the time when racial attitudes were changing. This was a big help to me. Also, the people who were most cruel to me when I first came to America were black Americans. They made absolute fun of the way I talked, the way I dressed. I couldn't dance. The people who were most kind and loving to me were white people. So what can one make of that? Perhaps it was a coincidence that all the people who found me strange were black and all the people who didn't were white.
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