Quote

Certainly, when you train as a classical dancer, you are very much influenced by 'Giselle.' You see it all the time; you start to learn the steps a little.

I was a professional fighter for a while, and I trained in martial arts for seven years, so I think that kind of helped form a base for me as far as dancing.

I was a dancer for fifteen years, and I think a lot of what dancing gives you crosses over so much into anything to do with fighting, martial arts, anything action.

I realize that dancers have worked long and hard for standards. However, on occasion, I think that it's good to examine one's heart and ask why are we dancing.

I think it's one thing to be able to dance, and it's another thing to learn all the wonderful moments of dance because in my day... it was the moving of dance.

I have been very lucky to work in so many new ballets, but that is what a dancer's work is.

I think I'm the same dancer everywhere. But I've learned a lot with Bolshoi - the history of the theater, the technique of the theater, different nuances in my technique.

Fortunately I'm Latin, and I'm born with a little bit of rhythm by default. It's in the DNA. I have that going for me, but I've never been considered one of the world's greatest dancers.

Dancing has been in us, in people, since the Neanderthal age. There's something about moving, something about interpreting yourself to the music, that's attractive, that's interesting, that's intriguing, and everyone wishes they could do that.

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.