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.

Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.

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.

Any man who looks like a sissy while dancing is just a lousy dancer.

I arrived in Hollywood twenty pounds overweight and as strong as an ox. But if I put on a white tails and tux like Fred Astaire, I still looked like a truck driver.

I think Twyla [Tharp] has a lot to say. The great thing about Twyla is that she continues to explore.

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.