The way I look at a musical, you are commenting on the human condition no matter what you do. A musical may be light and frivolous, but by its very nature, it makes some kind of social comment.

In fact, I wasn't going to dance in Xanadu, but several journalists told me that Olivia Newton-John kept saying how sad she was that she wouldn't get the chance to dance with me. So I finally said, "All right, throw in a number." But I'm through with dancing.

I never played a rich man, I never played a prince. And to play a sailor or longshoreman you had to make your dance more eclectic and varied, but still keep it indigenous to your nationality, upbringing, and background.

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.

Like an athlete, [dance] is an everyday job. You have to stay in shape - unless you just want to loaf through a couple of hoofing routines. But that just didn't satisfy me.

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.

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.