I've always been just as interested in making people think as I am in making them feel, and one of the things this scientific process allows me to do is make the audience look differently at dance.

For me, choreography is a process of physical thinking. It's very much in mind as well as in body.

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.

I like to practise. With every new piece, you make mistakes and you learn. So it's important to get on and have another go.

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.

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.

'Entity' is not about science. The process behind it may dictate the nature of the piece, but it's not like a dance about Einstein where I'm trying to convert his ideas into movement and communicate that to an audience.