I'd rather fight a buzzsaw than dance.
I would be very wrong to charge anyone to watch me dance or sing.
I feel I can handle the architecture of dance as well as anybody.
I think if I hadn't had the dance background, it would have been much harder as a kid to be like, 'I'm going to be an actress.' But you're involved with one area of the arts and other things interest you. It feels like an easier move.
I don't think about whether it's gonna be a dance record or a ballad or anything when I'm making music. I sit in the studio and I think, 'How am I feeling today?' and I write how I feel. It's really, really simple.
I am a member of the Kiowa Gourd Dance Society; I visit sacred places such as Devil's Tower and the Medicine Wheel. These places are important to me, because they've been made sacred by sacrifice, by the investment of blood and experience and story.
I realized that, for me, great records always moved me with the lyrics and the melodies. And so I said, 'I think I can do it now,' 'cause I found a team of people who understand I didn't want a record that was 'drop it, pop it, shake it' just 'cause I can dance.
I wouldn't want to do a Bollywood film per se, but I would like to do an Indian-language film. For some reason I think Bollywood has become synonymous with commercial cinema, which is song and dance and everything that is larger than life, and I am interested in the reality.
Dance music is an emotional journey. It's how well you can make people feel something that they haven't felt.
I love to dance. I have always been the first on the dance floor, but I'm not teachable. I couldn't learn 'five, six, seven, eight' if my life depended on it.
I feel that the year ahead for me will be full of two of my favorite things: dance and acting.
The dance can reveal everything mysterious that is hidden in music, and it has the additional merit of being human and palpable. Dancing is poetry with arms and legs.
Dance has such an intensity to it. You become, in a way, an intense person.
It was quite a thespian - 'thespy' - sort of household. My mum had a dance school, and my dad now works in a theatre, so I spent a lot of time going to see dance as a young child - it was just a part of who we were.
My favorite workouts are the ones that don't feel like I'm working out! So, dance is a big one. Another is any kind of isolated moves, like ballet moves. Anything that works the glutes and legs - sign me up! And I like to blast the music. I have to get lost in the music. That helps.
I can sing and dance. I can smile - a lot.
Comics brought me to the dance. It'll always be my first loyalty.
It's very hard to do that many things at the same time - having to dance and sing and be on a horse with a sword. It does get quite confusing.
I remember taking my demo to every dance person in London. People were like, 'We don't know what this is!' The first people to champion me were a club in Manchester.
I'm from the disco era where everybody thought they were John Travolta... What song is going to get me on the dance floor? Anything from 'Saturday Night Fever,' and you're up there like a demon.
We're dancing from here, from inside, not from outside. You could look at anybody throwing their leg and kick their leg up and a million pirouettes and do all kinds of tricks and stuff like that. But that's not what dance is really about.
Growing up, I thought I was going to be Madonna. I wanted to be a pop star. I wanted to dance and sing.
I think I learned to overcome some things in life through dance.
I went through a string of A&R men who all thought I should be doing something different. One thought I should be a dance diva; another thought I should do Rock n' Roll; and one thought I shouldn't even be singing at all!
My sister was born a couple years after I was, and I realized that I wasn't getting enough attention, as much attention as I used to before she showed up, and then I learned pretty early on that if I could do a silly dance or make grown-ups laugh, then the attention would come back to me, and I would be accepted.
When I was a kid in the mid-'60s, I was what's known as a moddie boy, a prototype skinhead. You all had your hair like a crew cut, cropped, with suits or Levis with red suspenders, sometimes Doc Martens. It was a thriving soul music, Motown and ska scene; we used to dance to Prince Buster and the Skatalites.
The world is full of ways for people to dance. Concert dance doesn't get its due.
When I dance, I look almost identical to Beyonce. And I mean identical. In many ways, when she becomes Sasha Fierce, she's actually just becoming me.
I like dancers. I have a thing for girls who dance.
I still enjoy doing the things I've always done, like going to a monthly dance party at a club downtown.
'Entity' is not about science. The process behind it may dictate the nature of the piece, but it's not like a dance about Einstein where I'm trying to convert his ideas into movement and communicate that to an audience.
Why movie and dance critics are taking 'The Company' seriously, I can't imagine. Are they impressed by Altman's reputation and naive sincerity? By the fluid semi-documentary approach?
Making dance music is a spiritual thing. It's about being completely absorbed by rhythm and vibration, so much so that the petty stuff of life stops mattering.
There are female artists I can look at that I find more in common with than the male artists, because they're blending the pop, dance and theatricality... but currently there aren't a lot of guys who go there.
I'll never forget the dance number that I shot with Anushka. The choreography involved a lot of intricate dance moves. I'm at least 7 inches shorter than Anushka, so I had to wear the highest heels I've ever worn in my life; throughout the song, I even injured my knee a couple of times.
When I was first going out to funky events, it was a lovely kind of music to dance to - it had such a nice vibe.