Movement looks one way when it's just your regular body doing it. But, when you have this big old suit on -- with big feet and hands with four long fingers -- all of a sudden it takes on a whole new dimension. So, I like to create the choreography while the dancers are in the outfits. The movements are always dictated by what they're wearing. Show less «

I think dance - big and small -- is making a comeback, and actors are getting used to working with choreographers. Mostly, the challenge is getting them past the fear. When I see that in an actor, all I want to do is get them alone in a room for five minutes. Once the fear is gone, they're amazing. Show less «

...choreographers are brought on set a lot of times if there's going to be any kind of movement. I helped smooth out the movements, so it just flowed by working on the timing. Show less «

At the end of the day, if you've done your best work, you can't take that kind of [negative] criticism seriously. Showgirls was my first big movie, so I was sad when it turned out like it did, and, Striptease got bad reviews, too. Then came Austin Powers, though, and it helped me learn how to go with the flow. It's hard not to feel bad when you're part of a project. At this point in my career, I'm only taking jobs that are going to challenge me, or I'll have a really good time doing. I try to be really choosy that way. But, you never really know. When I did the first Gap commercial, it became this overnight sensation that put me on the map. Who knew a 30-second commercial could do that for my career? Show less «

I really love working in Las Vegas. For me, it's like being on Broadway, because night after night, there are these big audiences, and lots of money is put into these productions. It's a creative playground. Show less «