It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.

Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.

I look at the dancers and I get the inspiration for the work from them.

Some are less giving, others are more reticent and you actually have to create for them. Others have within them the next step.

I actually build my dreams around the dancers I've got in my company.

Sydney is a very good market for us - we have a very strong following here.

I'm not interested in a group of people with some sort of incredible homogeny,a group that can do the movement I want. I'm interested in people whocan take the movement somewhere.