I arrived in Hollywood twenty pounds overweight and as strong as an ox.

I saw Mikhail Baryshnikov do Twyla Tharp's Sinatra Suite on PBS. I have no numbers to prove it, but I bet that kids who saw that loved it. I think you will see younger dancers, who certainly have the artistic sense and capabilities, start going back to romantic numbers.

Fred Astaire represented the aristocracy, I represented the proletariat.

In the 1930s there was this tendency in Hollywood to portray everyone as rich. Even if they were doing a poor man's dance, they were all so nicely clothed, gowned, coiffured. That's why I decided to wear white socks, loafers, T-shirts, and blue jeans. I had a sociopolitical context in front of me: I was a child of the Depression who danced in a way that would represent the common man.

When Ginger Rogers danced with Astaire, it was the only time in the movies when you looked at the man, not the woman.

I didn't want to be a dancer... I just did it to work my way through college. But I was always an athlete and gymnast, so it came naturally.

When I would create a dance, I wouldn't have the luxury that ballet people do when they take a piece of music and impose a dance upon it. What we did in motion pictures was have a song and within that song try to elaborate. My usual method was to do what a writer does: get a plot.