We need to think on a broader plane, we need to do more than we're doing.

On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.

Then I came in twice a week - for my own enjoyment as well as to be a guide. And then we started to apply some of the splinters of the ideas back into the piece.

If I only made dances about my own experience in dance, it would always be on my track, and I don't want that, I want to be on the track of where dance can take me.

We need to think on a broader plane, we need to do more than we're doing.

I don't start a piece knowing exactly what effect it's going to have. There is a seed of an idea that I could never articulate, right at the beginning of the piece, literally like one cell.

We could ask artists from abroad to come in too, so that there could be a mixing and matching of skills from Europe, America and here which would widen our world.