I had always choreographed a little, beginning in high school. And I leaned toward choreography. I always had an overview of what was going on.
I have fully retired as a choreographer. I do not have the patience now to make actors learn their steps. For me, that ship has sailed. I have enjoyed 22 years of it.
People don't really know, but I went to Dance Theatre of Harlem in New York.
I was married to a dancer who had a dance company in New York City, and she toured.
The Kirov is a great ballet company because it has so many terrific dancers, but it doesn't always know what to do with them.
I will never leave choreography and will keep doing songs, too.
There's no point pretending that all of Martha Graham's pieces are equally strong.
In the world of classical ballet there are only a handful of story ballets, so getting a new one is cause for excitement.
There's only a certain amount of space in every ballet company. You're basically on a team. You want to succeed as a group but all want to have the same roles.
I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.
I would love to compose something for dance before I kick the bucket, and I'm not closed-minded about the dance, or the dance company.
I was a dancer, so it was easy for me to dance in films. I had studied Kathak, Bharatnatyam, Kuchipudi, Odisi and Kathakali much before I even thought of becoming an actor.
Dance is so prominent, now more than it's been before, but I still feel like there's this void that needs to be filled that tells the story of a contemporary dancer who is in a company - I don't know, just that's my dream to do that.
Unfortunately, my dancing skills never came to the fore, as I got involved in acting on television, where an actor doesn't get too many opportunities to dance.
I was privileged to be able to study a year with Martha Graham, the last year she was teaching.
My first professional relationship, I danced with the Parsons Dance Company, and David Parsons, my former boss, allowed me to choreograph on the company.
It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.
Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.
Choreographers use me as the old guy who still dances. Not that I put on white tights.
The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.
After I finished 'Center Stage,' I went back to San Francisco, and I danced for seven seasons with the San Francisco Ballet.
I trained as a ballet dancer till I was 18, so I would really like to get back to it. I'd love it if there was a part that meant I could do both acting and ballet, as they're both so close to my heart.
I was always the kid down the street who got the other kids to put on a show. But it was only when I was 19, and discovered ballet and contemporary dance, that I got interested in the fact that you could have a whole evening of dance - rather than just waiting for the dancers in a musical.
I have been very lucky to work in so many new ballets, but that is what a dancer's work is.
When I look at the people who are the guiding figures in modern dance, I think, 'This does not look to me like the way I want to spend my days.'
