A Quote by Robert Gottlieb

What really matters is that 'Black Swan' deploys and exaggerates all the cliches of earlier ballet movies, especially 'The Red Shoes,' another tale of a ballerina driven mad and suicidal.
The first time the Kirov ballet was seen in America was on Sept. 11, 1961. The ballet was 'Swan Lake.' The ballerina was Inna Zubkovskaya. The place was the old Met, on what must have been one of the hottest nights of the year, and there was no air-conditioning.
Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
Slashing its way to the finish line, 'Black Swan' is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
I really enjoyed watching a ballerina named Denise Dabrowski who used to dance at California Ballet. She was a beautiful ballerina and role model for a lot of young dancers.
I remember being mad about having pink and red shoes. I gew up envying other girls' pink and red shoes.
With 'Black Swan,' the ballerina saga flips its tiara and goes on a hallucinatory bender, a scary acid trip where transfiguration and disfiguration meet.
I was a very rotund child with short hair, and for some reason, I always had black ballet shoes. I was like the Wednesday Addams of ballet.
Before founding Ballet Beautiful, I was a ballerina with the New York City Ballet.
When I've done gymnastics, ballet or soccer - I was always trying to be the best. I'm really driven. Really driven.
Coal-black is better than another hue In that it scorns to bear another hue; For all the water in the ocean Can never turn the swan's black legs to white, Although she lave them hourly in the flood.
If I ever see another Shakespeare production where somebody drives a Jeep on stage, I'm going to run screaming up the aisle. These tend to be matters of design. I mean, we're seeing a lot of - it's very common to see Shakespeare with automatic weapons, things like that. They are clichés. They're new clichés, but they are clichés. And they're provincial. It's not clever to do Henry V, and have everybody dressed in United Nations soldier's costumes anymore. I've seen that one too. That kind of thing irritates me.
I think there's a fundamental distinction between character-driven movies that are just really lovely slice-of-life movies and character-driven movies that you remember 20 or 30 years later; the common denominator with the ones you remember is that they all have some really complicated emotional problem at their core.
They were doing the Dying Swan at the ballet. And there was a rumor that some bookmarkers had drifted into town from upstate New York and that they had fixed the bullet. There was a lot of money bet on the swan to live.
Kids are always told that they can be anything that they want. But what if you want to be a ballerina, and you're terrible at ballet? Or what if you're gifted at ballet, but you don't like doing it?
My metaphor for acting in movies - not on stage because it's completely different on stage - is to put colors on an easel for the director to paint his own painting with in the editing room, long after I've left. You buy me for red and black, so I better give you really great red and black, but if I can give you purple, pink, green and brown too, I will.
Beware of clichés. Not just the ­clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought - even of conception. Many novels, even quite a few adequately written ones, are ­clichés of form which conform to clichés of expectation.
This site uses cookies to ensure you get the best experience. More info...
Got it!