I used to say to myself, 'Well, in the old days everybody danced because they loved to dance, and there was none of this professional garbage going on about how much can you get for this or that or the other, or any of the kinds of things that insecurity can sometimes promote. Sometimes it's for the wrong reasons.'

It was not until I had graduated from college that I made a professional commitment to it. Frankly, I didn't think it wise. I was my own interior parental force, and it's very difficult to justify a profession as a dancer.

When I started thinking seriously about learning the rules of narrative, I thought, 'You've learned the rules of dancing from the ballet; what's the matter with learning the laws of theater from the people who know how to do it?'

Proust writes, he remembers, physically. He depends on his body to give him the information that will bring him to the past. His book is called 'In Search of Lost Time,' and he does it through the senses. He does it through smell. He does it through feeling. He does it through texture. It is all physically driven, that language.

There are two methods for the literary study of any book - the first being the study of its thought and emotion; the second only that of its workmanship. A student of literature should study some of the Bible from both points of view.

The mark of higher education isn't the knowledge you accumulate in your head. It's the skills you gain about how to learn.

Through first-class education, a generation marches down the long uncertain road of the future with confidence.

I had to get good grades and do well in school - my mother was an assistant principal and my father was a teacher - and they took this very seriously.