A Quote by Matthew Bourne

Astaire never thought of what he was doing as balletic, but Kelly was always trying to dance with women on points. And his choreography is so showy and flashy. He always looks self-satisfied to me.
I've always had an innate ability to dance, but I'm not as spiffy as those cinema legends like Gene Kelly and Fred Astaire.
Astaire was ballroom, basically, and Gene Kelly had such athleticism - that's always what I responded to and what just blew my head open when I watched Gene Kelly's numbers. But, Fred Astaire was just so incredibly inventive and so, so smooth - so smooth.
I had certain physical limitations that made me change the choreography for myself or made me more interested in choreography only rather than dancing. I have never been a person who wanted to just dance. I have always been interested in developing for other people.
Even Gene Kelly: I always preferred him to Fred Astaire, just because he was more athletic, like skateboarding. His leaps were big. There was something really great about his moves.
I think there's no question that Michael Jackson was the foremost entertainer of his generation; perhaps of all time, arguably, taking the skills of a Sammy Davis, Jr., bringing together the street dance of African American urban culture, joining them to the politics of dance, of Fred Astaire and Gene Kelly on that sphere alone.
When Ava Gardner get in a taxi, the driver knows at once she’s Ava Gardner. It’s the same for Lana Turner or Elizabeth Taylor, but not for me. I’m never Grace Kelly, I’m always someone who looks like Grace Kelly.
A farmer's horse is never lame, never unfit to go. Never throws out curbs, never breaks down before or behind. Like his master he is never showy. He does not paw and prance, and arch his neck, and bid the world admire his beauties...and when he is wanted, he can always do his work.
I studied dancing for 13 years. And loved to dance. Always wanted to dance with Fred Astaire.
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.
I've always been inspired by the great actors and actresses of the '30s and '40s like Fred Astaire, Ann Miller and Gene Kelly.
As a dancer, obviously, we are all inspired by Michael Jackson, and I always looked up to Gene Kelly. He was a bigger version of Fred Astaire, and he was amazing as well.
I have always loved contemporary dance, but it has always been a bit of a mystery to me. But choreography is very much like what I do when you are putting characters in frame on the page. It's so impressive what they do with their bodies. It's like painting: an abstraction.
I was just learning to be by myself. He seemed to really see me, see through the bullshit...He was so handsome, and he could dance. I thought, 'He won't be interested in me; I'm not a contender. He was so cool, so funny - I was such a fan of his and had always fancied his speed and his intelligence. I thought, 'I'm not beautiful enough or his type.'
Every young woman should dress well, that is, neatly, tastefully, modestly, whether she be rich or poor. Conspicuous dressing is vulgar. True refinement avoids anything showy and flashy: it never dresses better than it can afford, and yet it is always well dressed, even in simple muslin or plain calico.
Women are always self-effacing and self-denying. There's a term that enrages me, and I always used to swear that I'd never play characters described that way. The term is "long-suffering."
Comedy always benefits from different points of view and even tension. It can never be satisfied.
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