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

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'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.

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

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.

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.