A Quote by Mikhail Baryshnikov
I have been very lucky to work in so many new ballets, but that is what a dancer's work is.
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I've been very lucky being in New York. While there are many things that have impacted my life, I have been able to stay here and do my own work.
I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.
I work as a dancer, but I also work as a choreographer with couples that have a lot of tension between them, and as dancer and as a choreographer, being in this situation is very difficult. You see the energy doesn't flow, and it's very tense.
I mean, I'm new but I've always been very interested in film making process and I've been lucky enough to work with film makers in my past that have been very encouraging to let me hang around. I get so emotionally vested - that the producer part of me was natural.
Pedro's Almodovar different - very unique, very particular and difficult to compare to anyone else. But I've been lucky with many of the people that I've worked with. I think I've been very lucky with great opportunities - directors like Stephen Frears, Cameron Crowe and Fernando Trueba, as well as Bigas Luna, who gave me my first opportunity. There are a lot of people I would love to work with again. But, of course, I have a special relationship with Pedro and I don't think it's good to hide that.
I've been really lucky. I didn't have any morning sickness and I've been off work for most of my pregnancy, so I've been able to do things like work out with a trainer and do prenatal yoga and all these things that have kept my body very agile and pain-free.
I think that dreams, goals, and aspirations, all of that stuff - I'm really lucky to have been able to work with the talented people that I've been able to work with and I hope to be doing that for a very long time.
America's been very, very good to me. I've been very lucky and worked a lot there, and appreciate and love the work that I've done.
I think I've been lucky to work with so many lovely people. But there's Joshua Bell, who's the world's greatest violinist. We worked together live and once, for his record, but I really would want to work with him on one of my records.
I started out old, but I have to say that I've been very lucky to work consistently since I started. I've really never been out of work.
What I found interesting in dance is the idea that my work has always been dealing with the nervousness between the human subject as a subject and the human subject as a form. And if you look at my dance films, there are always these cuts between the dancer as a form, the dancer as a subject, and this kind of very harsh treatment of the dancer as someone who's actually drawing with their body.
I'm very lucky to be able to work in print and radio. I'm very lucky to be able to work at a time when finance and economics are really important. And the number of people who tell finance and economic stories in a kind of accessible storytelling way, there's much more demand than there is supply.
I have been so lucky when it comes to work. It's great to do so many different roles.
It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.
Young dancers are training at a very vulnerable time in their lives, through adolescence, and while they are trying to work out who they are as people, never mind as a dancer. So train the whole person, not just the dancer.
It's part of my responsibility, as an actor who has been lucky enough to have this job, to take my job very seriously, show up on time, know my lines, and give the best performance that I can because I'm doing something that so many other people work very hard to have and never get.
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