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.

'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.

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.

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.

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.

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

Misbehave more beautifully; more often.