Fred Astaire citáty

Fred Astaire bol americký tanečník a filmová hviezda.

Pochádzal z rodiny rakúskych prisťahovalcov. Už od svojho detstva rád tancoval, najprv vytvoril tanečnú dvojicu so svojou sestrou Adelou.

V tridsiatych rokoch natočil sériu muzikálov ako napríklad Top Hat , v ktorých sa preslávil stepovaním so svojou partnerkou Ginger Rogersovou. Toto partnerstvo sa skončilo v roku 1939. Astaire však naďalej zostal populárnou svetovou hviezdou vo filmoch ako Veľkonočná paráda a Silk Stockings .

V roku 1950 získal Oscara za celoživotné dielo.

Zomrel vo veku 88 rokov na zápal pľúc. Wikipedia  

✵ 10. máj 1899 – 22. jún 1987
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Fred Astaire: Citáty v angličtine

“He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.”

Rudolph Nureyev quoted in Cooke, Alistair. "Fred Astaire Obituary", Letter From America, BBC World Service, June 1987.

“When I was in the Soviet Union recently I was being interviewed by a newspaperman and he said, "Which dancers influenced you the most?" and I said, "Oh, well, Fred Astaire." He looked very surprised and shocked and I said, "What's the matter?" He said, "Well, Mr. Balanchine just said the same thing."”

Jerome Robbins in Heeley, David, producer and director. Fred Astaire: Puttin' on his Top Hat and Fred Astaire: Change Partners and Dance (two television programs written by John L. Miller), PBS, March 1980. (M).

“A four wood I hit on the 13th hole at Bel Air Country Club in June of 1945. It landed right on the green and rolled into the cup for a hole in one.”

Fred Astaire on his proudest achievement in Lewis, Jerry D. "Interview : Fred Astaire." Glendale Federal Magazine, Summer 1982, pp. 8-10. (M).

“Our homeward step was just as light/As the tap-dancing feet of Astaire/And, like an echo far away,/A nightingale sang in Berkeley Square”

from Eric Maschwitz's lyrics to A Nightingale Sang in Berkeley Square with music by Manning Sherwin

“You can get dancers like this for 75$ a week.”

Johnny Considine, MGM associate producer, on viewing Astaire's screen test. Source: Burton Lane as quoted in Green, Benny. Fred Astaire. London: Hamlyn, 1979 and reaffirmed by Lane in Lane, Burton. Letter to John Mueller, March 3, 1983. (M).

“I'd never seen him out front before. It was also the first time I realized that Fred had sex appeal. Fred. Wherever did he get it?”

Adele Astaire on Astaire's performance in Gay Divorce. Source: "He Worries, Poor Boy." Variety, March 18, 1936, p. 3. (M).

“Except for times Fred worked with real professional dancers like Cyd Charisse, it was a twenty five year war.”

Hermes Pan, Astaire's principal choreographic collaborator, quoted in Davidson, Bill. The Real and the Unreal. New York: Harper and Bros., 1961. p. 186. (M).

“Either the camera will dance, or I will.”

Fred Astaire in Winge, John. "How Astaire Works." Film and Theatre Today, January 1950, pp. 7-9. (M).

“It's unmatched perfection. It's a taste, understanding of his strength, and weaknesses in a way. He was not a sexual animal, but he made his partners look so extraordinarily related to him.”

Mikhail Baryshnikov in an interview http://transcripts.cnn.com/TRANSCRIPTS/0205/05/lklw.00.html on Larry King Live, CNN. 5 May 2002.

“The fact that Fred and I were in no way similar - nor were we the best male dancers around never occurred to the public or the journalists who wrote about us…Fred and I got the cream of the publicity and naturally we were compared. And while I personally was proud of the comparison, because there was no-one to touch Fred when it came to "popular" dance, we felt that people, especially film critics at the time, should have made an attempt to differentiate between our two styles. Fred and I both got a bit edgy after our names were mentioned in the same breath. I was the Marlon Brando of dancers, and he the Cary Grant. My approach was completely different from his, and we wanted the world to realise this, and not lump us together like peas in a pod. If there was any resentment on our behalf, it certainly wasn't with each other, but with people who talked about two highly individual dancers as if they were one person. For a start, the sort of wardrobe I wore - blue jeans, sweatshirt, sneakers - Fred wouldn't have been caught dead in. Fred always looked immaculate in rehearsals, I was always in an old shirt. Fred's steps were small, neat, graceful and intimate - mine were ballet-oriented and very athletic. The two of us couldn't have been more different, yet the public insisted on thinking of us as rivals…I persuaded him to put on his dancing shoes again, and replace me in Easter Parade after I'd broken my ankle. If we'd been rivals, I certainly wouldn't have encouraged him to make a comeback.”

Gene Kelly interviewed in Hirschhorn, Clive. Gene Kelly, A Biography. W.H Allen, London, 1984. p. 117. ISBN 0491031823.

“I guess the only jewels of my life were the pictures I made with Fred Astaire.”

Rita Hayworth in Hallowell, John. "Rita Hayworth: Don't Put the Blame on Me, Boys." New York Times October 25, 1970, sec. 2, pp. 15, 38. (M).

“The history of dance on film begins with Astaire.”

Gene Kelly in Heeley, David, producer and director. Fred Astaire: Puttin' on his Top Hat and Fred Astaire: Change Partners and Dance (two television programs written by John L. Miller), PBS, March 1980. (M).

“Astaire can't do anything bad.”

Jerome Kern quoted in Bordman, Gerald. Jerome Kern: His Life and Music. New York: Oxford University Press, 1980. p. 142. (M).

“For a guy who had retired ostensibly, your comeback represents the greatest event since Satchel Paige.”

Bing Crosby in a letter to Fred Astaire, c.1948, on Astaire's return in Easter Parade, as quoted in Astaire's biography, Steps in Time, United States, 1959. p. 293. ISBN 0815410581.

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