I don't even want to discuss Flashdance. I'm no critic, but that's an interesting phenomenon, that picture.

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

My mother had gotten a job as a receptionist at a dancing school and had the idea that we should open our own dancing school; we did, and it prospered.

At the time the quickest way to establish yourself as an American was to throw a little bit of tap into your dance - even when it wasn't called for. But what also helped me was the fact that I was dancing in roles that I had played.

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.

If Fred Astaire is the Cary Grant of dance, I'm the Marlon Brando.

I took it as it came and it happened to be very nice.