Fosse Quotes
The best sayings about Fosse that you can share on Instagram, Pinterest, Facebook and other social networks!
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I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
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That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
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A few years later, when I was still going to these meetings, I was also "second-acting" every Broadway show [walking in with the crowd after intermission]. I snuck in to see Grease with John Travolta in kind of a secondary part and Adrienne Barbeau playing Rizzo, into Pippin, hung out with Ben Vereen and Bob Fosse. It was an amazing time for a teenager.
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All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.
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Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.
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[Bob Fosse] was a temperamental fellow - it was his way or the highway.
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I always found that kind of hard, and even though Gene Kelly was also a taskmaster, Bobby [Fosse] was tougher.
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I've never danced professionally as a ballet dancer, but all of my training is ballet, and I am a Fosse dancer.
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I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
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Sergio Trujillos choreography adds coals to the inferno, with movement that plain just doesnt stop. We know from Jersey Boys that he can capture this style, but in Memphis, he kicks it up towards art, playing with the authentic touches to add some hits of Fosse, or riffs from modern dance that take us just that extra step we need.
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The heads of the studios, like Louis B. Mayer, didn't want to create any more musical stars. So Bobby [Fosse] left and went to New York City to be a choreographer, and created brilliant work.
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Bobby [Fosse] was very difficult to work with, he wanted to be a big star at MGM, but it was the end of making musical movies at the time.
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The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
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If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
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