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.

The finest all-around performer we ever had in America was Judy Garland. There was no limit to her talent. She was the quickest, brightest person I ever worked with.

I didn't want to move or act like a rich man. I wanted to dance in a pair of jeans. I wanted to dance like the man in the streets.

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.

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.

The future of dance will always be tied up with the public's acceptance of the star. If they accept the star, then they'll accept the dance.

If I played a tough kid on the street I couldn't go out there and get into fifth position. I had to dance like a tough kid on the street.