And dance is wonderful because dance is so immediate.

If the year 2000 can help us move into the future, that's fine, but I am afraid that people see it as a full stop and that one can take a big breath afterwards - you can't.

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

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 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.

There's a line of dancers waiting to get into Sydney Dance Company.

No one was creating and I always wanted to be created on.