I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.
For me, writing a novel is like solving a puzzle. But I don't intend my novels as puzzles. I intend them as invitations to dance.
Living in a zoo means it wasn't always sparkly dresses, but I would still dress up. I had this pink sparkly dress and fairy wings, and I'd put those on and then go and dance in the zoo.
I'm a dancer, so I love to dance.
There are very few dance companies in the world and you have to be phenomenal. You have to not be injured. You have to have a really strong mind to deal with the dance world. People who can do it are amazing to me. You cannot have a life outside of dance.
I don't go into my dentist and say, 'Are you gay?' I don't say to contestants on 'So You Think You Can Dance,' 'Are you gay?' What does it got to do with me? What does it got to do with anybody?
And we love to dance, especially that new one called the Civil War Twist. The Northern part of you stands still while the Southern part tries to secede.
Growing up, others girls wanted to dance and help their mums with the cooking. I liked to play soccer with the boys. Or I'd be off on my own, tilting mirrors towards the sun in order to burn armies of ants. That was my idea of fun.
I believe I'm doing the right thing in trying to step away from that and to take chances and work on little independent films and do stuff like that wild dance scene.
I wake up, go for dance class, and do the same things that I used to do. I am very asocial. I don't go out too often.
I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.
Yeah, I always listen to both classic and newer folk-influenced music. Singer-songwriter, alternative music. I also listen to more experimental dance music.
It takes a lot of guts to get up on top of a bar and dance.
I think the thing that we agreed to so many years ago, actually, was that the music didn't have to support the dance nor the dance illustrate the music, but they could be two things going on at the same time.
I left school the day I turned 16, the earliest day I legally could. Determined to follow a life on stage, preferably with some dance connection, I applied for and won a place at the local drama school. I was on my way.
It is not a question of who dances but of who or what does not dance.
If I only made dances about my own experience in dance, it would always be on my track, and I don't want that, I want to be on the track of where dance can take me.
When I started off with 'Dance India Dance,' even the TV show people thought it won't be accepted. But with the talent that the show received, I was able to personally tutor dancers to amalgamate contemporary dance moves on Bollywood tracks.
There's an innate feeling when I choreograph in juxtaposition to how I feel as a dancer. When I choreograph, I never really look into the mirror. But as dancers, we always check ourselves in the mirror. I do feel that when I choreograph, I am making a dance on my own body. Much of it is my own response to the music.
My family's business was actually an amusement park in New Orleans. My grandfather had started that, and my grandmother was a dance maven in New Orleans. It was just the theatricality and the Mardi Gras and the pageantry that I fell in love with at an early age.
I believe that dance communicates man's deepest, highest and most truly spiritual thoughts and emotions far better than words, spoken or written.
People just want to dig; they want to dance. They don't want to work all through the night, and neither do I. I like getting 'out there,' but communication should be occurring on more levels than heavy-laden philosophical.
If I can't dance, I don't want to be part of your revolution.
New York had this wild beat that anybody could dance to. It was very nurturing to young people.
I think I can beat Usher on the dance floor.
Regis can do anything these young punks can do. I fit right in there with my Fox people. They want Regis to dance, Regis will dance. They want Regis to lift weights with them, Regis will lift weights with them. Whatever they want!
I really have to dance more often, and so I travel around. If I don't, I will crumble.
Every day that is born into the world comes like a burst of music and rings the whole day through, and you make of it a dance, a dirge, or a life march, as you will.
My favorite dance move is the 'Old Man.'
My first vocation was dance.
Dance is definitely what I love doing much more than anything else.
I come from a school of people, folk singers, and the tradition there is troubadours, and you're carrying a message. Now admittedly, our job is partly just to make you boogie, just make you want to dance. Part of our job is to take you on a little voyage, tell you a story.
I think if you are going to be a singer, you should sing. If you are going to be a dancer, you should dance. If you are going to do a combination of the two, you should make it very clear when you are singing and very clear when you are dancing.
My first mentor and inspiration was my Irish Dancing teacher Patricia Mulholland. She created her own form of dance known as Irish ballet and created stage productions of old Irish myths and legends. They were my first experiences on stage. She told my mum I was destined for the stage, and I took that as my cue.
When I was in school, I was very involved with a lot of things. I was very very active. I couldn't say that I wasn't popular. I was a cheerleader when I was in junior high. I didn't make it in high school so I started a dance line.
When I was two and a half or three, my mom got a call from someone asking if wanted to go on an audition. I ended up getting the job; it was a commercial for Hasbro. It was my first audition and first commercial. I just had to smile and laugh and dance around.
