You'd have to go all the way back to 1972 to find a version of me who didn't care about theater, who didn't read Playbill and watch the Tony Awards, or get why Bob Fosse's choreography was so groundbreaking that all you need to say is 'Fosse hands' and theater people know what you mean.
I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.
Bob Fosse, even though he wasn't gay. He was certainly queer and had a huge effect on the 'Hedwig' film, as did Hal Ashby and Robert Altman, who had a weird butch queer feeling about him. His films almost flirted with camp but in an extremely realistic acting way.
If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.
Bob Fosse and Gwen Verdon intimidated us all because she walked in and was going to be the dance captain. She was a great star, but she loved that kind of work as his assistant.
The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
The "Highway 61" album [of Bob Dylan] was produced by Bob Johnston if I'm not incorrect. And Bob Johnston was an entirely different producer than Tom Wilson. Tom Wilson had produced jazz records and was a Harvard educated.
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
All of the [Bob] Fosse-esque movements and point of view informed years and years of what I would do.
I didn't even drink until I was in college. While other people were out partying, I'd be home watching the Tony Awards and Bob Fosse movies... I so badly wanted to be part of the club.
If they're [his clients] not temperamental, I don't want them. It's in the nature of a great artist to be that way.
We already do a couple numbers with chairs - chairs being a classic, Bob Fosse-ish, showbizzy prop, but the punk element is that it's just me and Stephanie and this funky band from Austin.
There is only one thing that a man really wants to do, all his life; and that is, to find his way to his God, his Morning Star, salute his fellow man, and enjoy the woman who has come the long way with him.
To go back to visit the early days with Bob Fosse and Gwen Verdon, when she was the dance captain of 'How to Succeed,' and finding them again 25 years later and working with them on 'Charity.' That was really great fun.
That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
There's not 20 ways. It's not your way. It's either God's way or the highway. That's it. If you want to get to heaven, you have to come God's way, and the way that God established was the way of His Son dying on the cross.