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.

For me it was really important to get the essence out of the music for the story and not, sort of, press the music into the service of the whimsical telling of it.

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

I'm interested in people who can take the movement somewhere.

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.