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'Black Swan' does what Hollywood movies have always done - it spends its energies on getting some surface things right while getting everything important wrong. Darren Aronofsky, the director, applies the same techniques and the same sensibility here as he did with 'The Wrestler,' only with a prettier protagonist.

I have this really morbid, awesome love for the movie 'Black Swan.'

All ballet galas are unbearable, but they're unbearable in different ways.

With 'Black Swan,' the ballerina saga flips its tiara and goes on a hallucinatory bender, a scary acid trip where transfiguration and disfiguration meet.

Ballet-girls have a bad reputation, which is in most cases well deserved.

'Swan Lake' is the most difficult thing to portray for a female ballet dancer; it really requires such specific qualities of articulation, agility, strength, and the arm work is something that takes a lot of training.

I had seen the ballet of 'Swan Lake' as a child but it was as an adult, when I saw a production featuring Erik Bruhn, that I first noticed how significant a part the ever-present threat of violence played. This juxtaposition of great beauty and grace with a backdrop of pure evil stayed with me for years.

'The Sleeping Beauty' is the greatest, most challenging and most vulnerable of classical ballets. Everything can go wrong with it, and all too often, everything does.

Blood is the leitmotif of 'Black Swan.'

'Black Swan' was absolutely unbelievable. I had always dreamed of working with Darren Aronofsky, and Natalie Portman, Winona Ryder, Barbara Hershey, Mila Kunis and Vincent Cassel. The entire cast was really a dream cast, and it was amazing to work with these powerhouse women that I've just admired for so many years.