Every child dances, and then you learn not to.
From Mark Morris
I have a beautiful, big bathtub.
Usually that's going into biology in a certain way. There's certain strengths and weaknesses to both of the sexes. And I'm not against employing those nor am I against denying those, what I am looking for is a very large array of options.
I build duets into bigger works. I like to see people working together. What we call a giant solo in my company is about four bars long while twenty other people are doing something dynamically. I like the charge that is set up by a lot of people doing something.
Perhaps... I mean there are people who defend that it as an art. I don't. I like it but it's not an art form as far as I'm concerned, and yet it's a similar thing, once you can't land those jumps, you're disqualified - that precludes it from ever becoming a serious art form.
We're all in the same room, so I want people to be involved with one another, but again you can't decide exactly to what extent that operates. It varies all the time and it depends on the show, it depends on the audience, it depends on everything.
I'm not after a closed system, I mean I'm after a complicated system in structure, but as far as watching it, I don't think that everything should be decided.
I love the way in which I make up dances. It's a complicated way and the product is usually clear. Clear and simple. I don't need everybody to know that there are all of these fabulous things going on. If you CAN see it, that's wonderful.
That piece has been choreographed so badly so many times. I'm loathe to do it but I may eventually because it is one of the seminal art works of the twentieth century.
Disney is thrilling and informative and important and beautiful and suspect. Butts was a detail I observed later and definitely ties in. I suppose I was programmed, yeah.
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