There was a stage when Balanchine and I didn't talk. I was trying to develop my classical technique as opposed to the fast-track technique that he was pushing. We were very quiet with each other. But after two years he saw what I was doing and sent messages through other people that, yes, this is good.

Often, when you've reached a very high level of achievement, you almost become paralyzed by the idea that anything you might do might be imperfect. Perfection is just the striving, the effort, the struggle, but it's hard to remember that.

Ballet is a riddle of means and ends.

Classical virtuosity is more than technique, line, proportion, and balance. It is as if the performer and spectator come together to hold in their hands a bird with a broken wing. The creature can be felt to stir, to struggle for freedom. Its life responds to human warmth; its wing might brush your check as it flies away.

I know my body. What happened is that I got so caught up in the applause I forgot how I should dance. All my life I've been what others wanted - in dancing and in life. Now I'm doing it my way.

As unnatural as dancing is, you have to find a natural way to do the unnatural.

As soon as you become afraid to make a fool of yourself, you're in trouble. I decided I may as well just see if I can live with myself making millions of mistakes and learn something from it.