Choreography and creativity - it's my matrix; let's see where we can move.

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.

Choreography and creativity - it's my matrix; let's see where we can move.

Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.

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.

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.