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

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

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.

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 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.

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.

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.