Matthew Bourne Quotes

I wish I was more adventurous.
I would like to have directed Hollywood musicals in the '40s and '50s.
I'm a believer in presenting something that is worth paying to see. I've always felt lucky in that the work that pleases me pleases other people as well.
I'm a choreographer and a director, and I have no ambition beyond that.
I'm constantly being approached by people who say, 'You've introduced me to a new world that I didn't even know I liked.' Even if I didn't set out to do that, I'm very proud that I have.
I'm not completely trained in any one area - I'm not a tap person or a ballet person. I don't have a big back-up of steps; I can't just fall back on what I know.
I'm very interested in storytelling and anything that plays with structure.
I've always been excited by the strangeness of ballet, but I can't bear it when people just come forward and do a turn in the air for no reason.
I've mostly had a trouble-free life.
Keep your mind open about what you want to do and be true to yourself. So many people are governed by what's 'in' or copy something that someone else has done.
My family home was a rented house in the East End of London. My parents could have bought it at one point, but they preferred to spend their money on holidays and theatre tickets. It was strange to see it handed on to someone else when my father passed away.
My first boss at the BBC was Aubrey Singer. The main thing I learned from him was discipline. I also learned things about myself: namely, that I hated commuting and didn't really want a 9-5 job.
My first job was at the BBC but was really dull. I was working in the BBC's reference department, where I did a lot of filing. I had always been interested in films and theatre, so I thought that getting a job at the BBC would be a good idea, but the job was really mundane.
My interest in Princess Margaret comes through Vanessa Kirby's brilliant portrayal of her in 'The Crown.' Rather than do the classic story from beginning to end, this book gives you many different glimpses. You get a much more intimate sense of the person through little incidents, stories, and gossip.
My mum was ill when I was originally making 'Edward Scissorhands' in 2005. I was virtually visiting her every night after rehearsals, and she never got to see it.
My parents were an ordinary East End family and very supportive - they would have supported me no matter what I wanted to do.
People get excited about things like 'Swan Lake' because they generate a personal involvement. If you set up the story properly, audiences respond to the ambiguity. People ask, 'What exactly is happening in Act Four?' and I never say. I can't put it into words, but they've got a feeling about it, and that's good enough.
People strangely revere dance. They see it as another world, and dancers are somehow mysterious - just because they don't speak.
People think I got rich out of 'Swan ,but I didn't at all: it's the royalties from 'Oliver' and 'My Fair Lady' that have kept me going.
The reason I think the shows I do are successful with a wider public is because they tap into something that's beyond dance and is about being told a story. That's what people want.
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Matthew Bourne
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