Sometimes during a ballet I'll look around and see all these rows of intent faces, concentrating on this beautiful thing up on the stage.

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 predictions are notably inaccurate.

I was trying to learn about Lyndon Johnson when he was young and creating his first political machine in the Texas hill country. I moved there for three years. You had to learn that world.

The Senate is an unknowing world.

Robert Moses wasn't elected to anything. We're taught that in a democracy power comes from being elected. He had more power than anyone, and he held it for 48 years.

I never wanted to do biography just to tell the life of a famous man. I always wanted to use the life of a man to examine political power, because democracy shapes our lives.

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.

Everyone believed the Senate could not really be led. It used to take so long to rise up through seniority.

The New York City Ballet is obviously speaking to a whole new generation and bringing it the same wonder and beauty that it brought previous generations.

Sometimes during a ballet I'll look around and see all these rows of intent faces, concentrating on this beautiful thing up on the stage.

I never went to a ballet until I was 45 years old. I don't know why.

You come in off the street, through the doors of the theater. You sit down. The lights go down and the curtain goes up. And you're in another world.

Lyndon Johnson, as majority leader of the United States Senate, he made the Senate work.

I deliberately made an effort not to become an expert on the ballet.

As you get older, you sometimes feel that it's harder and harder to get something new and wonderful to come into your life.

I really wanted there to be something in my life that I enjoy just for the beauty of it.

I sometimes feel that if your book sells more than 20 years, then there's something in it that you can say, gee, I did something that endures, that's timeless.

The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.

Everything seems to be going faster and faster. It's really harder to create something that endures. The New York City Ballet has succeeded in doing that.

I like new ballets because they're totally new. As you get older, new experiences are harder and harder to come by, so it's pretty great to have a new experience.

Everyone believed the Senate could not really be led. It used to take so long to rise up through seniority. In two years Lyndon Johnson is assistant leader of his party. In four years he is the leader of his party.

I am trying to make clear through my writing something which I believe: that biography- history in general- can be literature in the deepest and highest sense of that term.

I don't think of my books as being biographies. I never had any interest in doing a book just to write the life of a great man. I had zero interest in that. My interest is in power. How power works.

Long Island is shaped the way it is largely because of Robert Moses. Long Island is a perfect example of how political power shapes people's lives every day.

The right of a minority is so important in a democracy.

There used to be this feeling under Eisenhower and Kennedy and Roosevelt and Truman that government was a solution. Trust in the presidency fell precipitously under Johnson - real lows. And it's never come back. It's a trend that, if you're liberal, is really discouraging.

We're taught Lord Acton's axiom: all power corrupts, absolute power corrupts absolutely. I believed that when I started these books, but I don't believe it's always true any more. Power doesn't always corrupt. Power can cleanse. What I believe is always true about power is that power always reveals.

You can use a biography to examine political power, but only if you pick the right guy.

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

You can use a biography to examine political power but only if you pick the right guy.

Someday a political genius will come along and make the Senate work.

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.