I toured the Middle Eastern countries with the ballet.

I went to the Tokyo Film Festival in Japan because I love Japanese cinema.

I hate biographies which say, I was called to such and such an office, and he offered me so and so, and I got so and so money. I find that very tedious. The best biographies are written by other people.

Cinema will always have an important role to play in society.

I think it's the end of progress if you stand still and think of what you've done in the past. I keep on.

When I did small films like Lily and Buenos Vista, everyone thought my career would be ruined.

I went to Kerala in India, to learn Ayurveda, which was fantastic.

I regret not doing a film that I was offered with Clark Gable because the script was not good enough.

Fred Astaire was a more formal, trained dancer who loved waltzing and only danced with the girls.

The studio system collapsed only when Elizabeth Taylor charged $1 million for Cleopatra.

It's very difficult to marry into another civilization.

I seemed to belong to three countries: I had an apartment in Paris, a house in Hollywood, and when I married British theater director Peter Hall, I moved to London.

It's the first film that I made where the director was not present under the camera, and it threw me.

We were all ruled by the studio system. I signed a contract for seven years.

I had two children. I had a nanny to manage my kids.

The most important thing is to remain active and to love what you are doing.

You have actresses like Meryl Streep and Julia Roberts, who have roles specially written for them.

I was trying to be very at ease in this arrogant person, and very worldly, but something human came into the part. I hate to say that. I wanted to be totally worldly.

I know a lot of Americans in Paris who have married Frenchmen. They keep bringing up their experience, the clash of civilizations, the clash of personalities.

There were many good actresses in my time like Jane Powell and Debbie Reynolds, but I was the only dancer.

James Ivory comes close to the actors for the first rehearsal. He more or less lets you direct yourself and then will only correct you if he finds it incorrect.

I got as little as a $75 a week when I started.

The American is wholeheartedly for love and romance at any cost.

No matter what you do, your person comes through. You can't completely change yourself on the screen. I had in mind someone colder and more in control, but I couldn't do it. This human note just crept in and maybe it's better.

I toured the Middle Eastern countries with the ballet.

I longed to break out of the system and do different roles.

In order to have great happiness you have to have great pain and unhappiness - otherwise how would you know when you're happy?

Dance is very, very old. With Louis XIV at Versailles is where ballet started.

I wanted to be a ballet teacher.

Classical ballet will never die.

I've got no plans to be a ballet dancer at the moment.

When life takes me on a new journey, I simply remember the smile my first ballet recital put on my face and I move forward.

Ballet is sort of a mystery to me. And I don't want to unravel that mystery.

The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15.

My grandmother had a Miss Margaret's School of Dance to teach tap and ballet to kids, but I never studied it. I was raised a Mormon and they're dancing fools. It's the only vice they have - dancing.

The real beauty of it - key to my life was playing key chords on a banjo. For somebody else it may be a golf club that mom and dad put in their hands or a baseball or ballet lessons. Real gift to give to me and put it in writing.

My background is somewhat unusual, as I trained to be a ballet dancer. I worked in the theatre for eight or nine years as a contemporary dancer. But as an actor one does read Shakespeare and does try to learn the classics.

However, the moral center of New York City, I believe, is the New York City Ballet.

I have ballet class every other day for two hours. And for "Six Feet Under", last week there was a sequence where I had to do a whole choreographed dance number, so I had four hours of dance practice every day.

I do take class because I still dance, and yes, I do slip into class with the Royal Ballet from time to time.

And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.

It's no good running a pig farm badly for 30 years while saying, 'Really, I was meant to be a ballet dancer.' By then, pigs will be your style.

For 24 hours a day, for 10 years, all I thought about was being in a band. That's all I did. I had no other social life. I don't want my life to be like that now. I've spent the past 10 years having a real life as well. But Spandau Ballet is such a difficult shadow to outrun.

When other little girls wanted to be ballet dancers I kind of wanted to be a vampire.

The New York City Ballet is always about the realm of possibilities, the realm of what the human body can do, what the human spirit can do. And it's about listening, it's about listening to remarkable music and how we respond to that.

I used to dance when I was younger - ballet and modern dance.

At the ballet, you really feel like you're in the presence of something outside the rest of your life. Higher than the rest of your life.

I went to ballet school for nine years, and there was an agent for the whole school who happened to be there visiting one of the performances. She suggested an audition.

Wrestling is ballet with violence.