Quotes
I wanted to make a movie, because the whole life of the movies appealed to me. You work hard for three or four months, then you don`t work at all for a couple of months.
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I read the script, and I knew it was a good part. It was written for a white actor. That`s what I`m up against - I have to try to make roles happen for me that aren`t written black.
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Once I got to be about twenty-five, I got interested in the music of the time. I started smokin` dope, I started drinking, I started slowing down and trying to find myself. I didn`t want to work in nightclubs.
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I never wanted to be a star, I just wanted to get work.
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It would be like the films I`ve seen where wardens would decide to be in a jail cell for a week, to get a sense of what it would be like to be a prisoner.
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I think everybody at some point - especially if they`ve been working their whole lives - should take time out and think about what they`ve done.
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You know the first time I sat in the chair I felt anything but up, it was very emotional for me. I had a chair in my hotel room, a chair at rehearsal, and I was trying to spend as much time as I could in the chair.
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My character had been in the chair for seven years. He had gone through his anger, depression, drug and alcohol abuse. He had gone through everything, now he was up, he was happy, he was filled with his dream.
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They told me that the hotels had maybe two rooms set up for people with disabilities, but if they got there too late, and didn`t get one of these rooms, they couldn`t take a shower. The room wasn`t hooked up for them, or maybe the sink was too high.
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It turned out to be exactly that, but more challenging emotionally. I looked at it in a more physical way, having to act in a chair and move around. But it really was more emotionally challenging.
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I don`t remember not dancing. When I realized I was alive and these were my parents, and I could walk and talk, I could dance.
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They were very generous with me. Everybody was willing to talk about their particular accident, what they had to deal with and how they got back in touch with their competitors` spirit.
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I can remember feeling very angry, and saying no! I can do it myself! From that point of view it was very emotional for me to get myself to the point to sit in the chair and be "up".
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Once I found that out, I instituted a reign of terror on Robert Evans. I called him every day. I went over to his house twice again, uninvited.
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Trivia
In the late '60s he decided to try his hand at performing rock 'n' roll music, and writing his own songs.
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Buried in the family plot of Carmela and Michael Truszyk in St. Volodymyr's Ukrainian Catholic cemetery in Oakville, Ontario, west of Toronto
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He won a Tony in 1992 for "Jelly's Last Jam".
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Appeared with Eubie Blake on a 1979 episode of Saturday Night Live hosted by Gary Busey. He sang two Eubie Blake songs and danced as well.
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Was considered for the part of Winston Zeddemore in "Ghostbusters"
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When he was in his twenties he worked on a farm.
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Has two children: Daria Hines, born in 1971 and Zachary, born in 1983. Also has a stepdaughter, Jessica.
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He had a reunion with brother Maurice Hines when they were both hired for the Broadway musical, "Eubie!" in 1978. It earned him a Tony nomination, as did his role in another musical, "Sophisticated Ladies".
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Won Broadway's 1992 Tony Award as Best Actor (Musical) for "Jelly's Last Jam," for which he also shared a Best Choreographer nomination with Hope Clarke and Ted L. Levy. He was also nominated for Tonys three other times: as Best Actor (Featured Role - Musical) in 1979 for "Eubie!", which he recreated in the television version with the same title, Eubie! (1981) (TV); ; and as Best Actor (Musical), in 1980 for "Comin' Uptown" and in 1981 for "Sophisticated Ladies."
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There's nothing better than love is a duet song he recorded with friend Luther Vandross back in the 80s. Gregory is known for his smooth silky voice and recorded his own self-titled album on Epic/Sony in 1987.
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Was aged six when he and brother Maurice Hines performed, as the Hines Kids, at the Apollo Theatre in Harlem.
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His own stage show has taken him from New York's Bottom Line to spots as far-flung as Atlantic City, Las Vegas, Japan and Monte Carlo.
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Inducted into the International Tap Dance Hall of Fame in 2004.
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Was the first choice to play the Eddie Murphy role in 48 Hrs. (1982) but dropped out due to scheduling conflicts with The Cotton Club (1984).
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His mother's name is Alma.
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Sings on the title track, "So Nobody Else Can Hear" of a recording by legendary jazz drummer Jimmy Cobb (Miles Davis' "Kinda Blue"). Bill Cosby and Freddie Hubbard are also on this record.
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He and Maurice Hines were cast as brothers in Francis Ford Coppola's The Cotton Club (1984), set in the Harlem club where their grandmother had been one of the elite black entertainers performing for a whites-only audience in the twenties and thirties. Coppola encouraged the brothers to improvise so they based one scene on their real-life reunion in "Eubie!" and admitted the tears were real.
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Had his professional debut when only 5 years old.
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He grew up as a member of "Hines, Hines, and Dad" with his father, Maurice Hines Sr. and brother, Maurice Hines in a tap dancing act.
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In 1954 he and brother Maurice Hines they were cast in the Broadway musical "The Girl in the Pink Tights".
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