Astaire Quotes
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Rabindranath Tagore Jayanti 2026
She was just the most wonderful mother. She loved working with Fred Astaire - she would talk about working with him.
In America, at the beginning of talkies, they pulled Fred Astaire from the theaters and put him on the screen and had all of these great composers write songs for him. They call it the Great American Songbook; I call it the Fred Astaire Songbook because they were written for him.
What I got, unconsciously, from admiring Fred Astaire was that he didn't want what he was doing to look difficult. What was difficult, in my opinion, was making it look so genuine, so effortless. I equally have tried to remain unseen on the screen.
I started dancing when I saw Fred Astaire in 'Flying Down to Rio,' at approximately nine years old. Fred Astaire influenced me, more than anything, to be in 'show business.'
I loved old black and white movies, especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs, the music, the romance and the spectacle. They were real class and I knew that I wanted to be in that world.
I've worked with Jack Warner and Jimmy Stewart - and Angelina Jolie, Brad Pitt, and Johnny Depp twice. I've had dinners with Fred Astaire and Cary Grant.
No dancer can watch Fred Astaire and not know that we all should have been in another business.
I grew up with the movies of Gene Kelly and Fred Astaire and Judy Garland - these are the kinds of shows and the kinds of numbers in shows that I dreamed of being in and doing when I was a kid.
I spent an entire evening seated between Fred Astaire and Gene Kelly, being charmed from either side. It was pure Hollywood magic.
When I was young, I ran to see Astaire and Rogers, Huston, Lubitsch - they were formative for me. I also read 'Flash Gordon' when I was 6, but if I were still reading it when I was 16, I'd have been an imbecile.
There's an old Fred Astaire movie where the stage becomes bigger and deeper and more complex. Moments like that really did impact on me and influence me.
I love the old Fred Astaire and Gene Kelly movies; they're so beautiful to look at. It's such a shame we don't make them anymore. Although, I don't know how you could make tap dancing current and topical.
While I was making my solo films, RKO was busily trying to get me and Fred Astaire back together. The studio wanted to capitalize on the success of 'Flying Down to Rio' and realized that the pairing of Rogers and Astaire had moneymaking potential.
Whether it's Cyd Charisse and Fred Astaire or 'West Side Story,' see it on the big screen. That's the way we should appreciate it.
I asked Fred Astaire once when he was about my age if he still danced, and he said 'Yes, but it hurts now.' That's exactly it. I can still dance, too, but it hurts now!
I wanted to be Stan Laurel, then I wanted to be Fred Astaire and then Captain Kangaroo. I actually started out as a radio announcer when I was 17 and never left the business, so that's literally 70 years.
Fred Astaire was retired when he worked in 'The Pleasure of His Company.' They were lucky to get him to play the father part.
No one around me was obsessed with Fred Astaire except for me. It just snowballed, really. I started with tap lessons. When I didn't have tap shoes, I taped nickels on the bottom of my penny loafers.
As a little girl, I didn't dream of being a ballet dancer; I dreamt of being a movie star like Ginger Rogers and dancing with Fred Astaire. I used to watch the Sunday double-bills on TV and Iong to be part of what seemed a perfect Disneyland world. Astaire was a genius.
Fred Astaire is my hero. I love him because he was willing to kill himself to make his art look effortless. And because he proved it's possible to be an artist and a good person.
I wish I was born in that era: dancing with Fred Astaire and Gene Kelly, going to work at the studio dressed in beautiful pants, head scarves, and sunglasses.
Astaire was ballroom, basically, and Gene Kelly had such athleticism - that's always what I responded to and what just blew my head open when I watched Gene Kelly's numbers. But, Fred Astaire was just so incredibly inventive and so, so smooth - so smooth.
I have a photograph at home of Fred Astaire from the knees down with his feet crossed. It's kind of inspiring because it reminds me his feet were bleeding at the end of rehearsals. Yet when you watch him, all you see is freedom. It's a reminder of what the job is about in general, not just being in musicals.
I dug up my dad's old Fred Astaire tapes, and now I find him super-inspiring. He's, like, one of the best dancers.
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