Matt Besser Quotes

After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.

I was a ballet dancer and that kind of bled into musical theater. I was constantly in rehearsal for one thing or another.

I've been choreographed in various musicals before. So I'm not completely two left feet.

I would do musicals in high school where there was dancing, and I would sing my verse, and then they would choreograph it so when I would take an eight-count to back up to the back of the stage while the other dancers covered me up because my body was totally... I was always in newborn-deer mode.

I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.

I got a part as a chorus girl in a show called Every Sailor and I had fun doing it. Mother didn't really approve of it, through.

The thing about making a musical is that you can and will be replaceable really quickly.

'Jersey Boys' was a lot of running around and a lot of energy, but it was more stylized movement.

Being a big fan of 'Glee,' I want to do the show justice.

When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.

I've tapdanced since I was 11 years old. I always wanted to be a tapdancer, and that's all I ever wanted to be.

I collaborated on most of my dance numbers, literally 50/50, with the choreographers I worked with.

I would love to do a musical. I would love that. I would have to find the right book, the right story, but some day I'm going to make one. I would really like to go off and direct a musical. That's what I would really like to do when I grow up.

I'm heavily involved in the creative with choreographer Christopher Scott. I go to rehearsals with 'Glee' and then practice with LXD till about midnight.

My first inspiration for acting came from the first episode of 'Hannah Montana.' That's when I knew I wanted to be a singer and an actress.

The chance to work on Broadway choreography as opposed to having to deliver Broadway choreography can be two distinct things.

The fun thing about 'Chicago' is that there's so much dance and, very specifically, Roxie. So you might see a little bit of Roxie on the Sugarland stage. Who knows.

What's interesting was with all the shows I did on Broadway, I was either the dance captain or the assistant choreographer - I sort of worked my way up to that kind of thing - and I always was interested in more than just the dancers and the numbers. I would always sneak into the room and watch the scene work.

I like ensemble shows.

When it comes to writing musicals, you write the best piece you can. Then, its destiny is in the hands of the actors and the director.

Theatre is different. We can spend two weeks around a table talking about subtext. In opera, there is a score, and people already know their parts. And they move differently. I find all this liberating.

As much as I love to travel and be on stage and perform, I knew at a very young age that I wanted to be a choreographer and a director.

Taking up the choreography for an awards night is completely different from choreographing a song for a film.

Good musicals, a strange world, seem so easy. People say, 'Ohhh, it's magic.' Nothing's magic. A thing doesn't jell. Adapt. Change the rhythm. Shorten the scene. Rewrite the character. Maneuver the waters. Seeming easy is why so many shows aren't good.

I will never leave choreography and will keep doing songs, too.