In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.
When they do let them sustain on screen from head to toe, though, then you know they must think the person is a good dancer.
America now has more and better dancers than they have ever had in the history of the country, but that won't account for the public wants to see.
I saw Mikhail Baryshnikov do Twyla Tharp's Sinatra Suite on PBS. I have no numbers to prove it, but I bet that kids who saw that loved it. I think you will see younger dancers, who certainly have the artistic sense and capabilities, start going back to romantic numbers.
I really wanted to be a dancer, but I just wasn't good enough to do that so that didn't happen.
I've always created solo work. When I first came to New York I was working in a few different areas; I was working as a drummer, a vocalist, an actor, and a dancer. I had gotten picked up more on the music side and that sort of went, and that's where I found my community in New York and that's the path that I went down.
When I was a little kid back in Moscow, Russia, I've always thought I would become an artist or a folk dancer or an astronomer. In fact, if you'd asked me then about a life of solitary writing I would have said, "Oh how boring! Imagine, to sit at a desk all day and just write."
It's like, say you're a dancer and you've been studying modern dance your whole life so you're used to a certain aesthetic of music or motivation or influence, if I send you something that you're totally not used to or don't understand, rarely does that work. On the average, you're not gonna feel that and it won't be you. You have to be in there.
I disagree with the idea that modern dancers are cold or unemotional.
The diagonal gives a three-dimensional feeling to dancers that cannot be achieved when they are only front and back. On the diagonal, more movement is automatically visible.
The relationship between the audience and the dancers goes through many different stages. Someone seeing my work for the first time may or may not pick up on that.
Just because you are an architect and make decent buildings does not mean that you can suddenly become a set designer for one of the best avant-garde dancers in the world.
I grew up as a dancer, and music and dance are so closely tied, that in ballet class you're listening to all this classical music, and in modern class you're working with a live drummer. It was something that always made me feel really comfortable and I've had a connection to since the beginning.
I grew up always wanting to be a dancer and when I went to New York, I fell in love with the idea of performing in all ways.
The people that have inspired me the most were dancers and choreographers.
I'm in a very good place now because I do theater, I do TV and I make movies. I was a dancer, so I dance a little bit. I was a musician, so I do a little bit of music. And I do all of this in four or five different languages, and all over the world.
In high school I went to the Los Angeles County High School for the Arts. And this is like Fame. It's like that sort of prototypical, dancers in the hallway, theater students, musical students, art geeks. And it was a kindergarten in the truest sense of the world: a children's garden where I was able to sort of really come into myself as an artist, as a person, sexuality issues - like, all of this became something where there was a firming-up and a knowing that went on.
I will never be the best dancer or artist. I will be growing until the day I retire.
I will push myself in different ventures that I believe will make me a better artist, dancer and person.
I have much clearer memories of my time in Egypt: songs on the radio, the rhythms that accompanied belly dancers, the sound of the adhan - the Muslim call to prayer. I just soaked it all up.
Now I want to become an artist, rather than one thing, like a dancer, or a movie star, or a choreographer.
As soon as I said to myself, "Oh I'm not a dancer; I'm not an actor," it made me so free to do anything. It made me free to not rush, to not be scared of things and say, "Oh, I have no time," or, "I'm not going to make this or that."
Writing is an art like other arts. Dancers don't dance every once in a while. Musicians don't stop practicing. They are dedicated to what they do.
As I currently explore things like augmented and virtual reality, I constantly bring us back to actual bodies in space, real dancers that have physical manifestations not just phantoms that exist in digital space.
Mads [Mikkelsen] and I have a really epic brawl - a week shoot, lots of rehearsal - and he was just delightful. He's a dancer and a gymnast so he knows how to plant the moves. He was always saying, "Are you okay?" When you've got that level of mutual consideration you form a family very quickly.
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