A Quote by Ninette de Valois
Diaghilev was the first to notice good character dancers and that sort of thing.
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My ability to notice that kind of thing, the sanctity of the bubble that you create, has not been so good in a way, in that I notice it concurrently with actually doing the thing. I always notice it in retrospect.
It is of first-rate importance to notice from the start that stupidity is not the same thing, or the same sort of thing, as ignorance. There is no incompatibility between being well-informed and being silly, and a person who has a good nose for arguments or jokes may have a bad head for facts.
Some people seem to think that good dancers are born, but all the good dancers I have known are taught or trained.
I'm a musician, and I'm fascinated with the effects of sound, and tone, and pitch and melody and all that sort of stuff. It's the first thing I have to solidify whenever...I get into a character. The first thing I need to get sorted out before I can then move forward, before I can feel any confidence whatsoever, is the voice.
According to a recent survey, men say the first thing they notice about women is their eyes. And women say the first thing they notice about men is they're a bunch of liars.
No good book, or good thing of any sort, shows its best face at first.
So many people think of me as a character on TV, but first and foremost, my passion is teaching dance and creating employable, working dancers.
You have to have a lot of ideas. First, if you want to make discoveries, it's a good thing to have good ideas. And second, you have to have a sort of sixth sense-the result of judgment and experience-which ideas are worth following up. I seem to have the first thing, a lot of ideas, and I also seem to have good judgment as to which are the bad ideas that I should just ignore, and the good ones, that I'd better follow up.
It's important to get well-rounded right off the bat. A lot of experienced dancers can get pigeonholed into one thing. I've been hired for a lot of different gigs simply because I can do a lot of different things with different levels of dancers. And it's sad to me that some dancers don't do more.
The only thing that I know how to do as an actor, as a trained actor, is you can't villainize the character you're playing. Whether it's a fictional character or a real character. Because then you operate from that sort of negative point of view, and you can't humanize him.
In the earliest cultures any tie between the dancers is slight. In a higher level the choral dancers almost always touch one another and thus force themselves into the same stride and the same movement. The closer the contact, the stronger is the social character of the choral.
Once you click into a character, to a certain degree, you can do a lot else. You can do other stuff, then come back and click right into the character. It's sort of funny that way, the way the mind works. Once it's there, it's sort of there. For the stage, for example, all through the day, you're not onstage. You're living your life, la-la-la, then the lights go down, then boom! All of a sudden, you're in this thing. There's a kind of reflex muscle trigger that happens, and all of a sudden you're back into the role. It's just getting there in the first place that's tricky.
The thing about covers is that the first thing you're going to notice is the vocals, because it's not the same person.
We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.
The most important thing you can do as an actor is bring as much of yourself to the character to ground the character in some sort of reality, and then you build around it and on top of it.
I would love for dancers to be treated better and for dancers to have support, for dancers to have managers, agents. This is the only art form that does not have a proper support system.
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