I heard Joby Talbot's Hovercraft piece for orchestra and felt its immediate physical impact - visceral, unsettling, hungry and direct. These short five minutes became our keystone to unlocking a strangely seductive score that tensions the aggressive force of the White Stripes with the enigmatic beauty of Talbot's own compositions.

My influences change all the time; they have to remain current, because they're the things that capture your imagination and make you want to go into the studio.

Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.

I am now obsessed with the technology of the body. I think it's the most technologically literate thing that we have.

I listen to music all the time, and I just choose things I like, or things that I've not used before. Sometimes I work with music that's very difficult - that I don't even particularly like, per se, but that is really complex or interesting.

Everyone is always telling me that I must be exhausted, but I've learned how to use my time well, and that includes holidays to recharge. I always try to give myself big chunks of time to think about what the next project is going to be.

Misbehave more beautifully; more often.