I find the aesthetics of the 20th century hopelessly barren.
You either entertain an audience or you don't.
I've always felt compelled to explore range, because, as far as I know, we're only here once. So let's see how much we can encompass.
My own physicality, not an abstract idea, makes me a choreographer.
Let me put it this way: I would like to direct a successful film. An unsuccessful film I would not like to direct. Films are very difficult.
The necessity to constantly turn in an excellent performance, to be absolutely wedded to this dedication and this ideal means that as a child you're going to pay for it personally.
The rewards of dancing are very different from choreographing.
With each piece I've completed I have worked to make it intact, and each of them has been an equal high. It's like children. A mother refuses to pick out one as a favorite, and I can't do any better with the dances.
I used to say to myself, 'Well, in the old days everybody danced because they loved to dance, and there was none of this professional garbage going on about how much can you get for this or that or the other, or any of the kinds of things that insecu...
I have not wanted to intimidate audiences. I have not wanted my dancing to be an elitist form. That doesn't mean I haven't wanted it to be excellent.
Broadway has some very tight expectations as to what a show is.
I've read probably 25 or 30 books by Balzac, all of Tolstoy - the novels and letters - and all of Dickens. I learned my craft from these guys.
I'm not interested in seeing dance die. It's not to my advantage. Nor is it to our culture's advantage or anybody else's.
When I first got to New York, all I did was musicals. After a few years I had to make a conscious choice to close the door on musicals, because I was getting pigeon-holed as a musical theater performer.
Go to the edge of the cliff and jump off. Build your wings on the way down.--Ray Bradbury
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