For Mike Mills, I learned that having dance parties and crying with your cast does not make you a weak director, it makes you a strong director.
Dance is in the air, pirouettes, very difficult. Mime is on the floor, like Spanish dancing perhaps, and very often in slow motion.
I always loved to dance and move. I probably should have been a mime or something like that.
People like Little Mix... they've got a big lot of choreography that they need to do so it's difficult to sing and dance at the same time. I think if they've got to do a big performance with loads of visuals behind, they need to possibly mime at some point.
The weirdest place someone has asked me for advice was at a party where there were a lot of A-list celebrities and super-wealthy people. There were people in the middle of mingling asking for investment advice, and I'm like, 'Hey, I'm just here to dance. I'm here to have fun!'
With 'Dancing with the Stars,' they miraculously send your dance teacher with you wherever you need to be.
Oh, I got totally misquoted saying I can dance like Rihanna. I can't! What I did say is that I enjoy a dance-off with my stepdaughter and her friends.
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 never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'
You know I very much respect Yvonne Rainer, she is very important - in American dance, the entire development of modern dance, and creating a wonderful physical language.
Now there is in a way a renaissance of modern dance - suddenly, it is more respected and discovered.
If nobody comes to your shows, then it's modern dance. If everybody comes to your shows and no one likes it, is that ballet? I don't know.
The early giants of modern dance - Isadora Duncan, Ruth St. Denis - barely left traces of their art.
The eternal and uneasy relationship between ballet and modern dance endures, but radically altered in tone and intensity.
My background is in modern dance. I was a dancer and a choreographer before I was a director, and in dance, you can't cheat. Your leg goes up in the air, or it doesn't. So when I direct, I'm a big preparer.
I used to dance when I was younger - ballet and modern dance.
I had art as a major, along with English, French and History. I had dance, modern dance. In English I was allowed to write my own poetry, which I eventually got published.
I attended Professional Children's School in Manhattan because my ballet and modern dance schedules were intensive and had started to interfere with regular school hours.
What you put into your body is just as important as how hard you dance. I believe with the right training and an understanding of how to take care of your body, you can mold it to be whatever you want it to be.
I wanted to do new things with dance, adapt it to the motion picture medium.
