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

I don't understand the whole concept of doubles. They used to do that in the early sound films in Hollywood, but I thought we had gotten rid of that. Now not only do you have doubles, but as in Flashdance, you have triples, quadruples. From my point of view it is bad for the art.

It fit into my scheme of things for many reasons. At the time it was true that male dancers were looked down upon, and it was true that a lot of the male dancers were effeminate. But what I was really trying to do was develop something that would be American.

There's nothing revolutionary about Saturday Night Fever . You can see the same kind of movement at your local disco.

In film, a dancer should always be shot from head to toe, because that way you can see the whole body and that is the art of dancing. Nowadays they shoot the nose. Left nostril. Right nostril. Hand. Foot. Bust. Derrière. The film prevents you from determining who is a good dancer and who is not.

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

First of all, break-dancing has been done for years, though not all of it put together the way it is now. But, actually, the distinctions have been blurring since the 1950s.