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

'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.

I think it's the responsibility of a major opera house not only to cultivate debate and get people thinking, but also to be interfaced with things that challenge them. To challenge its audience and not just deliver things that they know, even though some of those things are wonderful.

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

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