I started formal piano training when I was 4. From there I had little violas, and I had dancing lessons of every sort and description, and painting lessons. I had German. And shorthand.
I would have to challenge the term, modern dance. I don't really use that term in relation to my work. I simply think of it as dancing. I think of it as moving.
I get amazed, I can't look at it but about 10 seconds, at these politicians dancing around this, dancing around this, I'm trying to find a correct name for it, this utter absolute, asinine, idiotic stupidity of men marrying men.
One of my favorite stories was Black Orchid, because it was so different from all the others. I especially enjoyed dancing the Charleston. I have always been keen on dancing.
That is what war is and dancing it is forward and back, when one is out walking one wants not to go back the way they came but in dancing and in war it is forward and back.
Every act I see, their whole act is choreographed. I'm sick of seeing these dancers. The only reason they have them is they don't have enough talent to get people dancing themselves.
My grandmother had a Miss Margaret's School of Dance to teach tap and ballet to kids, but I never studied it. I was raised a Mormon and they're dancing fools. It's the only vice they have - dancing.
You get a show where people are jumping up and dancing, but it's not a critical event in the sense of profound catharsis. Essentially it's celebratory.
It is difficult to produce a television documentary that is both incisive and probing when every twelve minutes one is interrupted by twelve dancing rabbits singing about toilet paper.
