May O'Donnell discusses herself and her driving force, how she began dancing with Martha Graham in New York in 1932, building a dancer and what she passes on, time and preparation needed to become a dancer, incorporating many aspects of technique in each dance class she teaches, working with beginners, seeing the creative performance element in advanced students, differences from dancers in the 1930's to present day, more dancers involved today with a different social scene influencing dance, how to survive as a dancer, how the German dance of Mary Wigman in the 30's influenced May O'Donnell, along with Martha Hill, Louis Horst and Hanya Holm teaching at Bennington College which helped to keep dancers in the U.S. instead of going to Germany, America and the arts trying to get back to the basics, the experience of working with Martha Graham and what O'Donnell loved about dancing with her, most people now start dancing modern dance in college, how students are overencouraged to dance opposed to the 30's when there were far fewer companies and opportunities, the pros and cons of having your own dance company and being responsible for your dancers, problems involved with it and the need for money, events leading up to Joyce Theater performance in 1983 and how it was almost canceled due to financial reasons, what the future looks like to O'Donnell, advice to young dancers, how we must have the arts, how the environment affects O'Donnell and the importance of the open space in the west for her, growing up in Sacramento and taking day trips to San Francisco and the Sierra Nevada Mountains, the openness of the first time O'Donnell saw an orchestra, and the need to be careful about watching too much TV and spending too much time with our gadgets instead of thinking about ourselves, and concludes with the influence of music and dance on O'Donnell's life including Mary Wigman.