Fred Astaire: Trending quotes (page 3)

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“If people would only realize when they ask me why I don't do a picture with him - they ask me that all the time, and were quite keen on it while I was in Hollywood - if they'd only realize that he's gone 'way ahead of me. Why I couldn't begin to keep up with him. I couldn't even reach the steps he throws away.”

Fred Astaire

Adele Astaire op. cit.

People , Way , Time

“As a dancer, I out-Fred the nimblest Astaire.”

Fred Astaire

P.G. Wodehouse's Bertie Wooster in Joy in the Morning (1947).

“As a dancer he stands alone, and no singer knows his way around a song like Fred Astaire.”

Fred Astaire

Irving Berlin, quoted in Puttin' on the Ritz, BBC Programme Acquisition, 1999.

Way

“(Cary Grant) is, along with Fred Astaire, the best-dressed actor in American movies”

Fred Astaire

Benjamin Schwarz in " Becoming Cary Grant http://www.theatlantic.com/magazine/archive/2007/01/becoming-cary-grant/5548/" The Atlantic, January/February 2007

“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 Astaire

Richard Avedon in Silverman, Stephen M. Dancing on the Ceiling. Knopf, 1996. ISBN 0679414126.

Way , Learning

“I have had to do most of my choreography. I would say most of it, with help from various choreographers I have worked with.”

Fred Astaire

Fred Astaire in "Reminiscences of Fred Astaire", Interview with Ronald L. Davis, Beverly Hills, July 31, 1978, SMU Oral History Project on the Performing Arts. (M).

Help

“As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers - for himself and his partner. But Kelly can create an entire number for somebody else… I think, however, that Astaire's coordination is better than Kelly's… his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you!… To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious.”

Fred Astaire

Cyd Charisse in Charisse, Cyd; Martin, Tony; Kleiner, Dick. The Two of Us, New York: Mason/Charter, 1976. ISBN 0-884-053636.

Girl , Thinking , Sense , Help

“I once said that fifty years from now, the only one of today's dancers who will be remembered is Fred Astaire.”

Fred Astaire

Gene Kelly quoted in Shipman, David. The Great Movie Stars, The Golden Years. Crown Publishers, New York. 1970. pp. 25-29 as referenced in Billman, Larry: Fred Astaire - A Bio-bibliography, Greenwood Press, Connecticut, 1997. ISBN 0-313-29010-5 p. 351.

“By far the gentlest man I have ever known.”

Fred Astaire

Frank Sinatra on Astaire as quoted in Barnes, Clive. "Top Hat, White Tie and Tails - Fred Astaire dead at 88," New York Times, June 23, 1987 as reproduced in Billman, Larry. Fred Astaire - a Bio-Bibliography, Greenwood Press, Connecticut, 1997, p. 300.

“When you talk about Fred Astaire, you talk about heaven. What more can I say?”

Fred Astaire

Johnny Green to Mike Steen in Steen, Mike. Hollywood Speaks! An Oral History, G.P. Putnam's, New York, 1974.

“There comes a day when people begin to say, 'Why doesn't that old duffer retire?' I want to get out while they're still saying Astaire is a hell of a dancer.”

Fred Astaire

Fred Astaire in Time. "The New Pictures: 'Blue Skies'". October 14, 1946, p. 103. (M).

People , Hell

“If I was black and blue, it was Gene. If I didn't have a scratch it was Fred.”

Fred Astaire

Cyd Charisse on how her husband would know with whom she had danced, quoted in Aloff, Mindy. Dance Anecdotes: Stories from the Worlds of Ballet, Broadway, the Ballroom, and Modern Dance. Oxford University Press, 2006. p. 196 ISBN 0195054113.

“At its most basic, Mr. Astaire's technique has three elements - tap, ballet and ballroom dancing. The ballet training, by his account, was brief but came at a crucial, early age. He has sometimes been classed as a tap dancer, but he was never the hoofer he has jokingly called himself. Much of the choreographic outline of his dancing with his ladies—be it Miss Rogers or Miss Hayworth—is ballroom. But of course, no ballroom dancer could dance like this.”

Fred Astaire

Dance critic Anna Kisselgoff, in Shepard, Richard F. "Fred Astaire, The Ultimate Dancer, Dies," The New York Times, 23 June 1987.

Age , Dance , Training

“Can't act, slightly bald, also dances.”

Fred Astaire

Fred Astaire's version of the lost infamous screen test report in his interview on 20/20 with Barbara Walters, ABC, 1980 and reaffirmed by Astaire in Thomas, Bob. Astaire, the Man, The Dancer. Weidenfeld & Nicolson, London, 1985. ISBN 0297784021 , p. 78.

Dance

“They climb the clouds/ To come through with airmail/ The dancing crowds/ Look up to some rare male/ Like that Astaire male.”

Fred Astaire

from Lorenz Hart's title number to On Your Toes.

Dance

“Me? I play Gene Kelly…It's a guy who produces, directs, sings, and dances. who else could it be but Kelly?”

Fred Astaire

Fred Astaire on his role in Silk Stockings in Smith, Cecil. "Astaire prefers the 'Good Old Days' of the present." Los Angeles Times, July 14, 1957, sec. 5, p. 3. (M).

Guy , Singing , Dance

“Astaire really sweat - he toiled. He was a humorless Teutonic man, the opposite of his debonair image in top hat and tails. I liked him because he was an entertainer and an artist. There's a distinction between them. An artist is concerned only with what is acceptable to himself, where an entertainer strives to please the public. Astaire did both. Louis Armstrong was another one.”

Fred Astaire

Artie Shaw on his collaboration with Astaire in Second Chorus (1940) as interviewed in Fantle, Dave and Johnson, Tom. Reel to Real. Badger Books LLC, 2004, p. 304. ISBN 1932542043.

“But Adrian did not hear him. I have mentioned that during dinner, preoccupied with his thoughts, he had bolted his food. Nature now took its toll. An acute spasm suddenly ran though him, and with a brief 'Ouch!' of pain he doubled up and began to walk round in circles. Sir Jasper clicked his tongue impatiently. "This is no time for doing the Astaire pom-pom dance," he said sharply.”

Fred Astaire

From P.G. Wodehouse's Mulliner Nights (1933).

Pain , Food , Nature , Time

“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

Arlene Croce, in Croce, Arlene. The Fred Astaire and Ginger Rogers Book, W.H. Allen, London, 1974. p. 7. ISBN 0491001592.

Music , Communication , Idea , Dance

“He is terribly rare. He is like Bach, who in his time had a great concentration of ability, essence, knowledge, a spread of music. Astaire has that same concentration of genius; there is so much of the dance in him that it has been distilled.”

Fred Astaire

George Balanchine in Nabokov, Ivan and Carmichael, Elizabeth. "Balanchine, An Interview". Horizon, January 1961, pp. 44-56. (M).

Music , Knowledge , Time , Dance