At the time I just was like, I can't believe I am on the show, and the first thing I have to do is an entire song and dance routine for the whole cast of 'Mad Men.'
Doing a musical is not just acting. It's total theater. When you have to justify the enormous projection of energy it takes to just go into song and dance, you realized why it's such a humbling experience every time you go into a show.
Actors are almost conditioned to get their director's approval. 'I just did my song and dance, boss. What did you think?' Actors are infantilized so much.
I used to be on dance team in high school; it was called drill team in Texas. And when I started doing theater sophomore year, I had to make a decision which thing I was gonna follow. It was a big shift because I sort of had all these friends on dance squad, and when I started to do theater, my whole identity shifted.
I have this romanticized idea of dance music in the '90s because, obviously, I was way too young to be a part of it. So I have this rose-tinted idea of it. I have this idea of it being a very special time. But I still don't know that much - I can never remember any names of seminal artists.
I knew I wanted to be the Steven Spielberg of dance.
I think if I was like Fred Astaire out there or like break dance fighting and doing crazy splits and stuff like that I think people would be like, 'ehhhh, I'm just going to watch him,' but the fact that they're like, 'I can do that,' it's fun and I think they lose themselves.
If someone is worried about bulking up their quads, they're not going to do a traditional squat. They're going to do a wide-stance squat or a plie squat, which is second position dance, opening up your legs and bringing the focus to the inner thighs and not to the quads.
Back in the Stone Age, before there were workshops, it was a very difficult idea to get into musical theatre. Normally, you would be a chorus girl or boy and write something. People would get their start as rehearsal pianists or dance assistants.
As a straight man, I love going to gay bars. People at gay bars just love to dance.
It don't matter if you put 'The Dance' out, or any old George Strait song. Someone is going to think that it's awful. You gotta be able to just sit back and kind of laugh it off and know you're doing exactly what you wanna do, and if people don't like it, then it's not really my place to tell them they have to like it.
I have very strong feelings about dance and how it's shot.
My name is not unfamiliar to anybody in the dance community. I'm talking the upper echelon of dance studios.
When playing big festivals, I tend to play big, over the top techno tracks, like hands in the air songs that make sense being played in front of 30,000 people. I steer away from subtlety in the interests of big bombastic dance music.
There's a great club in London called The Secret Sundays, and it's on a Sunday afternoon and it's outdoors, and it's mainly Italians that go, and they all look great, and they're dancing on the tables, and life's a party, and they're totally into the music, going mental, and that's when dance music is really fantastic, I think.
You cannot dance an arabesque in 'Swan Lake' and 'Nutcracker' the same way.
I'm going to do 'The Social Network Two: The Electric Boogaloo.' And I have a part in 'Beige Swan.' I'm going to be the lead, but I don't dance. I just do a lot of sitting down. It's too tiring to get up and dance around. That should be coming out in 20-never.
Because I loved dance, I always need to be physical and moving, so photography that is more tactile made more sense.
I cannot sing, dance or act; what else would I be but a talk show host.
I have never had a lap dance in Tampa or any other part of Florida. If I ever did have a lap dance, I don't think I would be discussing television ideas with the girl that was giving it to me.