I'm not going to change and get the emotions out of my game. It's important to have emotions in sport. If you don't have emotions, it's like you don't really care. Because if you care about something, you're always going to be emotional. Doesn't matter if it's sports or personal life.
There was a lot of dancing in '76, '78, in the '80s. A lot of dancing. The burn years. A lot of dancing. And for a while, working fit in with all that. 'Moonlighting' - that wasn't acting. It was people telling me 'Let's create a character who is you, so you can play him the way you are. The guy you are at night.' It was fun.
I think the class divide is going to change. I think a lot more working class people are going to get published. It is really class ridden, literature.
There were country songs I connected to when there was pain, when I saw things my family were going through. It was my way of acknowledging I wasn't OK: music tapped on the door; I could work out these emotions by singing.
When I came into the industry I started with acting and I did drama during junior high and high school. I fell into dancing as a hobby, but whenever you need work, you try out different things. So I booked a lot of jobs for dancing and it kept rolling and rolling.
You have to be aware. Like, I'm not going to do any downhill skiing. It looks like a whole lot of fun, but I'm not going to risk breaking a leg. I want to be dancing the way I'm dancing now for 30 more years.
I hate talking about class, but the truth is as an actor you're only going to be doing some really great work if you can afford to be out of work and take the good stuff. If you can't, you're going to be treading quite a different path.
My brother became so enamored with that film [West Side Story], that he started taking tap-dancing lessons, and I followed him and started tap dancing, and my mother and father started tap dancing - I was in a class with my family, tap dancing!
I work out four hours a day - I do a lot of swimming, dancing, and gymming.
When I had decided to become an actor, I did a lot of soul-searching to figure out how I could be different. What could I bring to the table that others or my father couldn't have? That's when I worked on my strong points, namely action and dancing.
170 is not a popularity contest. 170 is a working man's weight class where you work hard, you get your rewards whereas at lightweight, it wasn't the same. You could work as hard as you want, win as many fights as you want, and there's no promise what you're going to get out of it.
The film [Django] really has a lot of ups and downs, and taps into a lot of different emotions. To me, the trick was balancing all those emotions, so that I could get you where I wanted you to be by the very end. I wanted the audience cheering in triumph at the end.
I was okay with singing. I always sneak a song into everything I do. Dancing, a little awkward. Little embarrassed about that. I don't move well. But I was with a frog, so it doesn't matter. I'll do anything with a frog, that's my motto. He's great with tap-dancing or flap-dancing on my head. So no one's going to be looking at me when we're doing that dance. They're going to be saying, 'There's a frog dancing'.
I've recently discovered Cardiobar. It's in L.A. and it has Cardio Aerobics. It's all women with no shoes on, dancing to upbeat music. I'm just dripping sweat at the end of the class. It's very fun for me, and it makes me want to work out.
Whatever emotions you're going through, you somehow seek out the people that are going through similar emotions or that maybe have something you need.
I went to dance class as a girl because I didn't like sports, but I never did a dance recital in my life. Never, ever, ever. I felt comfortable dancing, and I was happiest dancing, but I was never the best person in the class.