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.

America now has more and better dancers than they have ever had in the history of the country, but that won't account for the public wants to see.

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.

I wanted to do new things with dance, adapt it to the motion picture medium.

I love rhythmic dancing - I'm not derogating it at all. It's just that sometimes you want to whisper, "I adore you." And for that you need strings and woodwinds.

You dance love, and you dance joy, and you dance dreams.

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.