I am just a choreographer, and I am trying to make productions, not dance concerts.

I use geometric and mathematical ideas to organize material, but those are tools. The purpose of the work is not to expose that at all, but to arrive at some kind of expressiveness.

I am just a choreographer, and I am trying to make productions, not dance concerts.

"Light Over Water" is the longest piece I have ever composed. It is a landmark in my personal struggle to create large forms. I feel that it is by and large a formally successful work, though I was constrained to write a piece at least fifty minutes long, and there are some dead spots in the music where I think I was simply marking time. However, I think when the dance is in motion, the formal problem is nonexistent.

I like large sounds and very complex sonorities, and I also tend to opt for creating a feeling of vast space. I could achieve this effect either by using a symphony orchestra, which for a dance piece is pretty much impossible these days, or by using a synthesizer on multi-channel tape and a superb sound system, to get that same sensation of expansiveness and depth.

The diagonal gives a three-dimensional feeling to dancers that cannot be achieved when they are only front and back. On the diagonal, more movement is automatically visible.

I no longer need to have what I see as the surface of the dance so connected to the underlying structure.