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.
From Wayne McGregor
With dance and theatre, I think people get very nervous about not knowing the right things. They feel like they've missed something, or that they're not bright enough to watch it. It's not a test.
Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.
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.
Once I'm working on something, I don't do anything else. I'm mono-track.
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 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 enjoy my work too much to force-feed myself with pressure.
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.
Choreography and creativity - it's my matrix; let's see where we can move.
4 perspectives
3 perspectives
2 perspectives
1 perspectives