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.

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.

The only thing is that ordinarily when I do dance with [women] they think I am suddenly going to throw them over a table or twist them all around. All I want to do is one-two, one-two-three - a simple fox trot. But they're shaking with anticipation at the thought that I'm about to whip them around and then toss them on the roof.

I had been asked to open a nightclub in Atlantic City. They offered me a ridiculous amount of money. They literally overpaid me. So I did one show a night. Then they asked me back by popular demand. So I went back. Then I said, "To hell with this." I was only doing it for the money, and I was doing easy routines. It's just too much work to get up every day and practice.

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

I didn't want to be a dancer... I just did it to work my way through college. But I was always an athlete and gymnast, so it came naturally.

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