A Quote by Paula Kelly
I didn't have the opportunity to study dance until I was old. I was 17.
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I'm weirdly flexible, so when I dance, I dance like a 17-year-old girl.
My dad was pretty strict. We didn't even get to watch any of his movies until I was, like, 17 years old. I didn't even see his stand-up, really, until I started doing stand-up, and that was when I was 22. So he's pretty strict. We had curfews until I was 17... he didn't play around.
You know what makes me feel old? When I see girls who are 20-something, or the new crop of actresses, and I think, Aren't we kind of the same age? You lose perspective. Or being offered the part of a woman with a 17-year-old child. It's like, "I'm not old enough to have a 17-year-old!" And then you realize, well, yeah, you are.
It wasn't until I was about 17 or 18 years old that I got into music
It wasn't until I was about 17 or 18 years old that I got into music.
I never envisioned when I was reading that comic as a 17-year-old that I would have the opportunity to actually play the character.
I have this theory about us. When we started writing our own songs, we were 17 years old. When you're 17, you write songs for other 17-year-olds. We stopped growing musically when we were 17. We still write songs for 17-year-olds.
I met my first dance partner when I was about 17 or 18 and we were married by the time we were 18 or 19, I don't remember the exact date, and everything was dance, dance, dance. Then there came just a short space of time where I was wondering whether I was missing out on anything. Back then when you danced, everybody married their dance partner.
In the Ramtops village where they dance the real Morris dance, for example, they believe that no-one is finally dead until the ripples they cause in the world die away - until the clock he wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone's life, they say, is only the core of their actual existence.
As a 17-year-old, I remember positively dreading dance sequences. I would come to shoots, quaking with nervousness at the idea of making other artistes do retakes due to my mistakes.
The reason why I returned to dance is simply because I love dance. I had also promised myself that I wanted to make more sense of dance, study and understand it far more in detail.
When I was 17 years old, I was given the opportunity to be trained as a wrestler. At the time, I never really thought about making it a career. I only saw it as a chance to do something that I always wanted to do.
It was in Shizuoka, where my home was. I first attended this school when I was five years old. I also attended a regular elementary school, and I was taking piano lessons with a local teacher. I began to study composition at the Yamaha school. And I continued to study there until the age of 15.
To understand the culture, study the dance. To understand the dance, study the people.
At seven years old, I won a scholarship to George Heriot's School, an independent school in Edinburgh, and I was there until I was 17.
And she is going to dance, dance hungry, dance full, dance each cold astonishing moment, now when she is young and again when she is old.
