Fred taught me a step because I said I can't let this experience be over without my learning something. He taught me the most wonderful Fred Astaire-like step, with an umbrella. It was a complete throwaway; it was almost invisible. It was in the way he walked. As he moved along, he bounced the umbrella on the floor to the beat and then he grabbed it. It was effortless and invisible. As a matter of fact, a few years later I was photographing Gene Kelly and told him that Fred Astaire had taught me this trick with an umbrella. And Kelly said, "Oh I'll teach you one," and he did, and the two tricks with the umbrella in some way define the difference between Fred Astaire and Gene Kelly, and, in my view, demonstrate who is the greater of the two artists. With Gene Kelly, he threw the umbrella way up into the air, and then he moved to catch it, very slowly, grabbing it behind his back. It was a big, grandstand play, about nothing.
Fred AstaireRelated topics
air almost beat behind big catch complete define difference experience fact few floor fred grab grabbing invisible later learning matter nothing photographing play say something step teach tell throw trick umbrella view way throwaway years gene astaire grandstand kellyRelated quotes
My mom and I lived at Hollywood and Western, a drug-dealer and prostitute corner. It was pretty terrifying. I got beat up a lot. I saw people have sex in the alleys. I remember I was five years old, and this guy with a trench coat, needles and crack cornered me. Early on, seeing the devastation on my block, seeing heroin addicts, made me think twice about ever getting involved in drugs. It's evil. Once you take that step and experiment, drugs can take over your life. You are not yourself anymore. That's something I never wanted. I didn't have a lot of friends growing up. It was kind of just me and my parents. But because of them, the neighborhood did not have a bad effect on me. My dad introduced me to artists, and every few months we'd go to some hippie doo-dah parade as Mudmen in our underwear, carrying sticks and covered in mud. My mother did everything to get me into the best schools she could find.
Leonardo DiCaprio
The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.
Fred Astaire
The scene has thoroughly changed. The six weeks' march to Paris has come world drama. Mass murder has become a monotonous task, and yet the final solution is not one step nearer. Capitalist rule is caught in its own trap, and cannot ban the spirit that it has Gone is the first mad delirium. Gone are the patriotic street demonstrations, the chase after suspicious-looking automobiles; the false telegrams, the cholera-poisoned wells. Gone the mad stories of Russian students who hurl bombs from every bridge of Berlin, or French men flying over Nuremberg; gone the excesses of spy-hunting populace, the singing through, the coffee shops with their patriotic songs; gone the violent mobs, ready to denounce, ready to persecute women, ready to whip themselves into a delirious frenzy over every wild rumor; gone the atmosphere of ritual murder, the Kishinev air that left the policeman at the corer as the only remaining representative of human dignity.
Rosa Luxemburg
One rainy day in Cologne on the Rhine, the catalogue of a teaching aids company caught my attention. It was illustrated with models of all kind – mathematical, geometrical, anthropological, zoological, botanical, anatomical, mineralogical, paleontological, and so forth- elements of of such a diverse nature that the absurdity of the collection confused the eye and mind, producing hallucinations and lending the objects depicted new and rapidly changing meanings. I suddenly felt my 'visionary faculties' so intensified that I began seeing the newly emerged objects against a new background. To capture it, a little paint or a few lines were enough, a horizon, a sky, a wooden floor, that sort of things. My hallucination had been fixed. Now it was a matter of interpreting the hallucination in a few words or sentences Such as: 'Above the clouds midnight passes. Above midnight glides the invisible bird of day..
Max Ernst
I'm actually kind of impressed by Iraq's patience right now... I mean, look at it objectively. They've opened their doors to un inspectors, they're being bombed by british and american troops, american forces are massing at their borders, american diplomats are actively looking to assinate [sic] Saddam Hussein, etc. It almost seems like Bush is doing everything he can to taunt Saddam Hussein. Not just if you step over this line I will hit you, but if you step over this line while I put rats on your back and put butter on the floor and make fun of your mom and move the line then I will hit you, in fact I'll hit you even if you just stand there and do nothing. It's painfully clear that iraq should not be allowed to have weapons of mass destruction. But it also seems painfully clear that the bush administration have no intention of finding a peaceful resolution to the situation in Iraq.
Moby
