People From Omaha

"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.""

"The history of dance on film begins with Astaire."

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

"There is no setup in Hollywood that compares with an Astaire picture."

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

"He has a remarkable ear for intonation, a great sense of rhythm and what is most important, he has great style - style in my way of thinking is a matter of delivery, phrasing, pace, emphasis, and most of all presence."

"There never was a greater perfectionist, there never was, and never will be, a better dancer, and I never knew anybody more kind, more considerate, or more completely a gentleman...I love Fred, John, and I admire and respect him. I guess it's because he's so many things I'd like to be and I'm not."

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

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

"Fred Astaire once worked so hard/ he often lost his breath/ and now he taps all other chaps to death"

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

"Fred Astaire is the best singer of songs the movie world ever knew. His phrasing has individual sophistication that is utterly charming. Presumably the runner-up would be Bing Crosby, a wonderful fellow, though he doesn't have the unstressed elegance of Astaire."

"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"

"You're the nimble tread/Of the feet of Fred Astaire"

"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."

"By far the gentlest man I have ever known."

"Q: What great singers of the past do you wish had sung your music?"

"A: Nobody really. Well, actually, Fred Astaire."

"Can't act, slightly bald, also dances."

"You know, you so-and-so, you've a little of the hoodlum in you."

"Once after a dinner party, Gregory Peck and I drove Fred Astaire home. Fred lived in a colonial house that had a long porch with many pillars. When we dropped him off, he danced along the whole front porch, then opened the door, tipped his hat to us, and disappeared. Wow! Greg and I couldn't speak for a few minutes. It was a beautiful way to say thank you."

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

"The main point of Flying Down to Rio is the screen promise of Fred Astaire.... He's assuredly a bet after this one, for he's distinctly likeable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the professsion, which has long admitted that Astaire starts dancing where the others stop hoofing."

"As it turned out, you'd think that Fred had been playing serious drama all his life. He breaks your heart. We had to get rid of any signs that this was Fred Astaire, the dancer, and I even thought of putting weights in his shoes to eliminate that jaunty Astaire walk. But I didn't have to do anything. He worked it all out on his own—even to mussing the hair of his toupee to get rid of the sleek look of 'The Hoofer,' as he calls himself."

"Of all the actors and actresses I've ever worked with, the hardest worker is Fred Astaire. He behaved like he was a young man whose whole destiny depended on being successful in his first film. He rehearses between takes, after takes - there's no limit to his professionalism."

"He is a truly complex fellow, not unlike the Michelangelos and da Vincis of the Renaissance period. He's a supreme artist but he is constantly filled with doubts and self-anger about his work--and that is what makes him so good. He is a perfectionist who is never sure he is attaining perfection."

"It was on tiny wheels with a mount for the camera that put the lens about two feet above the ground. On it rode the camera operator and the assistant who changed the focus and that's all. Fred always wanted to keep the camera in as tight as possible, and they used to shoot with a 40 millimetre lens, which doesn't give you too much leeway. So every time Fred and Ginger moved toward us, the camera had to go back, and every time they went back, the camera went in. The head grip who was in charge of pushing this thing was a joy to watch. He would maintain a consistent distance, and when they were in the midst of a hectic dance that's quite a stunt."

"I don't think that I will plunge the nation into war by stating that Fred Astaire is the greatest tap-dancer in the world."

"Mr. Astaire is the nearest approach we are ever likely to have to a human Mickey Mouse; he might have been drawn by Mr. Walt Disney, with his quick physical wit, his incredible agility. He belongs to a fantasy world almost as free as Mickey's from the law of Gravity."

"A very distinguished colleague began his criticism of this show by asking what is Mr Astaire's secret. May I suggest that the solution hangs on a little word of three letters? Mr Astaire's secret is that of the late Rudolph Valentino and of Mr Maurice Chevalier — sex, but sex so bejewelled and be-pixied that the weaker vessels who fall for it can pretend that it isn't sex at all but a sublimated projection of the Little Fellow with the Knuckles in His Eyes. You'd have thought by the look of the first night foyer that it was Mothering Thursday, since every woman in the place was urgent to take to her bosom this waif with the sad eyes and the twinkling feet."

"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."

"I have never met anyone who did not like Fred Astaire. Somewhere in his sad monkey-sad face, his loose legs, his shy grin, or perhaps the anxious diffidence of his manner, he has found the secret of persuading the world."

"The audience meets Mr. Astaire and The Gay Divorcee at their best when he is adjusting his cravat to an elaborate dance routine or saying the delicious things with his flashing feet that a librettist would have difficulty putting into words."

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

"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."

"There's nothing to beat these old English country houses." said Charlie, becoming lyrical. "All those parks and gardens and terraces and stuff. Makes you think of bygone ages and knights in armour and all like that. I saw one of these joints in a movie in Cicero once with Fred Astaire in it, and I remember thinking those guys have it pretty soft."

"Mr. Llewellyn paused. Mr. Trout had begun to float about the room like something out of Swan Lake, and Mr. Llewellyn disapproved of this. He was apt to be a martinet in his dealings with his legal advisers, demanding that lawyers should behave like lawyers and leave eccentric dancing to the professionals. A man, he held, is either Fred Astaire or he is not Fred Astaire, and if he is not Fred Astaire he should not carry on like him."

"Grayce Llewellyn thought that with appropriate dietary restrictions, she and J Sheringham Adair could have Ivor Llewellyn looking like Fred Astaire."

"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?"

"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."

"Come on, Fred, I'm not your sister, you know."

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

"The girls always think we're going to throw them over a table or toss them in the air. Their muscles tense up right away. So Fred and I go and sit in a corner and pretend we're talking business."

"Just try and keep up with those feet of his sometime! Try and look graceful while thinking where your right hand should be, and how your head should be held, and which foot you end the next eight bars on, and whether you're near enough to the steps to leap up six of them backward without looking. Not to mention those Astaire rhythms. Did you ever count the different tempos he can think up in three minutes?"

"How do you think those routines were accomplished? With mirrors?... Well, I thought I knew what concentrated work was before I met Fred, but he's the limit. Never satisfied until every detail is right, and he will not compromise. No sir! What's more, if he thinks of something better after you've finished a routine, you do it over."

"We were only together for a part of my career, and for every film we did, I did another three on my own. The studio was working me too hard. Fred would rush off for a holiday and call me and say: "Hey, ready to do another?" And I didn't have the sense to say that I was too tired. Those times were murder for me. Oh, I adored Mr. A but all the hard work...the 5 a.m. calls, the months of non-stop dancing, singing and acting. We just worked it out and had a lot of fun and got very exhausted. And Mr A was quite divine."

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

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

"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."

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