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

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

I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

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

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.

I'm in the position to pick the cream of the crop.

I always figure I have this tree and there's always some green fruit that's not ready to pick or blossoms that are ready to flower; there are always some ready to drop off too.