English Quotes

As a film actor, you don't often get that opportunity to meet with your audience and take your applause on stage.

And I feel that filmmakers ought to be careful with the use of 3D. Because if you look back over the decades, you see that 3D has come and gone for I don't know how many years now.

The world worries about disability more than disabled people do.

Nothing's better than coming away from a film when people don't even recognize you, because you've undergone a total transformation.

Whenever I design any variant, or when anybody sends me one, I always say if at all possible within the context of the game don't have two home supply centers touching each other.

Then, all of a sudden, he stopped and nobody heard from him or got a response to orders. At this point Rod Walker looked him up and found he was living in a commune and seemed to be dropping out of the hobby.

I think most people played both variants and regular games. It was a period when variants were very popular and there were a lot more variants being played at that time. Every week practically, it seemed someone would publish a new variant in a zine.

What we do now is to be valued - but we need to do more, so that it's more exciting to other people, and therefore that excitement shines back on us and we're able to have the energy to do more, to widen our creativity.

Well, it's not full time - my dancers are only paid for six months of the year in two three-month blocks; but yes, it is possible we could do it in another year.

We're talking about people who've already got 3-4, if not 5-6 years' experience or more, and it's about trying to help professionals develop, using us as a resource for that development.

We need to think on a broader plane, we need to do more than we're doing.

We could ask artists from abroad to come in too, so that there could be a mixing and matching of skills from Europe, America and here which would widen our world.

Those 25 dancers we worked with for a day, in as highly productive a way as possible - a long class, a period of teaching bits of the repertory - in fact I didn't teach Bank, I've used parts of Oil and Water.

They should be working, and there isn't enough work.

They improve greatly, and sometimes I go and see the performances they do and I am consciously aware that there isn't enough work for the good dancers.

There's a mass of places, really, where the idea started.

Then I came in twice a week - for my own enjoyment as well as to be a guide. And then we started to apply some of the splinters of the ideas back into the piece.

The first 2 weeks, they didn't learn the piece - they went through the process of how the piece was made.

The dance world is too small in lots of ways - it's too intense, it rattles around itself, and it needs exposing to other ideas.

One of our problems is our sense of discipline - dancers have an extraordinary sense of self-discipline.

On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.

It's not just for its influence on us, but to know that we can play a part in it, to understand the influence that we have outside our own existence.

Independent dance - and, fine, it's a very good thing that it remains independent - is a much tougher life: all dancers expect that, and accept that there will be periods of not being able to work, provided there are choice moments during the year when they really can work.

If I only made dances about my own experience in dance, it would always be on my track, and I don't want that, I want to be on the track of where dance can take me.

I don't start a piece knowing exactly what effect it's going to have. There is a seed of an idea that I could never articulate, right at the beginning of the piece, literally like one cell.

Yes - it's the same in any other work - the more you massage your thinking the more capable I believe you are of expanding how you go about things and learning.

When you are making a record and if you spend too much time over it, you have to record it a tone lower or cut the tones lower because you can't reach some of the notes, I find this. But when you go on stage, you have to put the key up and it really changes the whole thing.

When I wrote the song, I had the sea near Bombay in mind. We stayed at a hotel by the sea, and the fishermen come up at five in the morning and they were all chanting. And we went on the beach and we got chased by a mad dog - big as a donkey.

Those three chords were part of my life - G, F, Bb - yeh, it is, it is, and I can't help noticing it. But there have been other things nearly as close to it which people haven't noticed, other things we have done.

Then I got together with my brother and a friend and we decided to play dates. The more we played, the more we wanted to do it. And it got to a stage where we wanted to do it all the time.