Sometimes I miss being en pointe, but not a whole lot. Every once and a while, I would love to float for a minute on a shoe. But for the most part, I did it long enough that it's OK.

I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.

Certain people have certain ways of focusing on things, and some arrange their lens to a pinhole in order to focus only on their goal. Others have a giant lens, and they take in the whole panorama. I was that pinhole kind of person.

There are many ways to lead a life. It would always be ideal to have a paycheck coming in. But I really love this fly-by-the-seat-of-the-pants approach. It's scary and wonderful at the same time. I feel very open to many possibilities.

I think the leotard for me became, after I retired, a sort of a symbol of the confines of still fitting into the ballet world in mind and body.

As I aged and I got stronger artistically, I really started to value my voice in performance - my 'voice' meaning my body, my technique, and my style. Then I started to really feel that flower as well. That's when I started to feel like, 'Wow - now I understand what my beauty is.'

I was so comfortable with my ballet power, my dancer power, that to have a voice, the comfort with having a voice, is slower to come to me.

I always looked at the process and the career of being a ballerina as sacred. It's a true gift to have this talent and perform these masterworks; it's sublime.

I've always felt like a different kind of ballerina.

I really only had one audition in my life, and that was when I was 14 or 15. When I was that young, I listened to what my teachers would say, like wearing a certain kind of leotard that you'll be noticed in.