A Quote by John Landis
After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.
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When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
I had to shoot shotguns for The Blues Brothers. But I don't like that stuff. Too butch for me.
There are happy blues, sad blues, lonesome blues, red-hot blues, mad blues, and loving blues. Blues is a testimony to the fullness of life.
My musical education was grounded in blues and Chicago blues - John Lee Hooker and Otis Redding.
It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.
I've always wanted to shoot a good percentage for my team, because I'm the point guard, and I can take fewer shots, still score more, so that I can get my teammates feeling good about themselves. That was always my feeling - that if I shoot a high percentage, I don't have to shoot a ton.
Some people seem to think that good dancers are born, but all the good dancers I have known are taught or trained.
The blues scale was the first thing I learned. It's just a pentatonic scale with a flat seventh and a few notes that sound cool when you bend them. And because people have amalgamated the blues into this rock-blues scale, if you're using it, you better sound like a real authentic blues player.
I have heartaches, I have blues. No matter what you got, the blues is there. 'Cause that's all I know - the blues. And I can sing the blues so deep until you can have this room full of money and I can give you the blues.
A producer wouldn't think of making a film about ballet dancers without using real dancers, but they will cast actors who have never held a bat in baseball films.
I was always looking at footage of dancers from Nicholas Brothers to Ralph Brown to Sand Man to Miller Brothers and Lois, and I grew up looking at old footage.
I grew up in a family that was very musical, learned the blues and everything like that. And I became a little bit frustrated with the simplicity of rock n' roll and blues. I started listening to a lot of classical music - mainly Bach, Vivaldi.
All my brothers, my brothers-in-law, they're always telling me what a good-hearted guy I am. You don't get to be good-hearted by accident. You get kicked around long enough, you get to be a real professor of pain.
After 'The Sisters Brothers,' I tried to write a contemporary story dealing with an investment adviser in New York City who moves to Paris. I did all this research, but after about a year and any number of pages written, I was bored stiff.
I'm not in "Bend and Snap." But, I will say that when I first heard they were making Legally Blonde into a musical, I thought, Well, of course, there's going to be a bend and snap number, because it's just, I think, one of the most natural moments in the movie to expand into a musical number.
We wanted a musical number that would capture the exhilaration of being out on a boat as they were and sailing with the stars and all that. So that's the origin of We Know the Way. From very early on we said, for an audience that doesn't know this, what we need a song that can really have the kind of sweep and the, you know, pull you in. So that was early on, we conceived of like that should be a musical moment [in Maona].
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