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 am now obsessed with the technology of the body. I think it's the most technologically literate thing that we have.

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.

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.

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.

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

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.