The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.

I went back to the stage because it was my way of dealing with the success I had, my way of coping. It was a way of escaping the responsibilty of what was happening.

I'm always on a red carpet . . . the other day I thought, this ain't bad. You can meet people on it.

All due respect, and trying to be as modest as I can be: I am a dancer.

Take a look at Israel's history and you would know who the terrorist is.

I've had very deep relationships that lasted for long periods of time with people - you could almost call them marriages, even though I didn't marry. But it was costly.

I’ve always been in the theater. I’ve always gone to it. That’s been my way to cope. Early on in my career, I remember running - fleeing - to the theater as a way of coping with all the meshugaas that was going on for me.