A Quote by Liza Minnelli

The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role. — © Liza Minnelli
The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
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.
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.
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.
[Bob Fosse] was a temperamental fellow - it was his way or the highway.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
When I worked as an assistant director in 2007, Indraganti Mohan Krishna offered me a lead role. Now, the same director has made me a villain in 'Gentleman.'
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.
I would just say there are no two roles that are more demanding than Bob Dylan of 1966 [Blanchett's role in 'I'm Not There'] and Carol Aird of 1952. I challenge any director out there to come up with a wider divide. I had to convince her to take the Dylan role, and that took effort. But with 'Carol,' she was already attached.
Bob, would you be willing to take on Evil Bob?" Bob's eyes darted nervously. "I'd . . . prefer not to. I'd really, really prefer not to. You have no idea. That me was crazy. And buff. He worked out.
I didn't even drink until I was in college. While other people were out partying, I'd be home watching the Tony Awards and Bob Fosse movies... I so badly wanted to be part of the club.
I have hardly ever worked with the same director twice. But when you have worked with a director before, you understand his behavior.
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
We already do a couple numbers with chairs - chairs being a classic, Bob Fosse-ish, showbizzy prop, but the punk element is that it's just me and Stephanie and this funky band from Austin.
Now, when Luke Skywalker unmasks his father, he is taking off the machine role that the father has played. The father was the uniform. That is power, the state role.
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