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.

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

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.

I enjoy my work too much to force-feed myself with pressure.

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.

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