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If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.

A choreographer deals with the movement that you create, and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected.

You realize you can get good at something, even though ballet almost felt like you could never be good enough. No matter how hard you worked, it was so hard to be a great dancer.

I wanted to be a professional dancer for a period of time, and I did a lot of dancing and choreography and got paid for it.

I didn't want to be a dancer. I just did it to work my way through college. But I was always an athlete and gymnast, so it came naturally.

I thought I had to make an impact on history. I had to become the greatest choreographer of my time. That was my mission. Posterity deals with us however it sees fit. But I gave it 20 years of my best shot.

If I didn't believe in myself as a dancer, I wouldn't choreograph.

People misconstrue when I say I was a dancer. I was not classically trained. I was a street dancer, and I got to do what I did in the nightclubs of New York City.

I was a dancer from a young age. My parents were dancers; we were taken to a lot of ballet as children. It occurred to me that what I liked more than dancing the steps was acting the story of whatever particular performance I was taking part in.