I got started dancing because I knew it was one way to meet girls.
At 14 I discovered girls. At that time dancing was the only way you could put your arm around the girl. Dancing was courtship. Only later did I discover that you dance joy. You dance love. You dance dreams.
Any man who looks like a sissy while dancing is just a lousy dancer.
My mother had gotten a job as a receptionist at a dancing school and had the idea that we should open our own dancing school; we did, and it prospered.
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.
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.
At the time the quickest way to establish yourself as an American was to throw a little bit of tap into your dance - even when it wasn't called for. But what also helped me was the fact that I was dancing in roles that I had played.
First of all, break-dancing has been done for years, though not all of it put together the way it is now. But, actually, the distinctions have been blurring since the 1950s.
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.
I think dancing is a man's game and if he does it well he does it better than a woman.
I love rhythmic dancing - I'm not derogating it at all. It's just that sometimes you want to whisper, "I adore you." And for that you need strings and woodwinds.
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