And it is always Easter Sunday at the New York City Ballet. It is always coming back to life. Not even coming back to life - it lives in the constant present.

I think a playwright must be his own dramaturg.

What we're dealt with hopefully is two arms, two eyes, two legs, a head, a heart. The variations, the extensions, the possibilities of the human body, what that can do

Oh, I never use a seat belt. I don't believe in gravity.

I think of the New York City Ballet as the Yankees without George Steinbrenner.

You can read ten books and finally come across one detail, and it's like, "now everything else makes sense. Now I know where I am."

I don't think about taking a risk. I think about how far can I go. How can I make myself. What are the risks I must create.