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The Bolshoi style is bigger and more emotional, in a way that I love. It has the freshness and intensity that is like what I've tried to achieve in my dance-acting roles.

With Bolshoi technique, the movements are quite large, the jumps are big, and I'm a tall dancer, so I've learned to use my height more, to elongate my moves, jumps and positions. I'm physically using my body more to my advantage.

My style is boho chic. I love that time period - the patterns, the prints, the people, the music, the vibe.

I think I'm the same dancer everywhere. But I've learned a lot with Bolshoi - the history of the theater, the technique of the theater, different nuances in my technique.

I love the dancers in the Bolshoi, but all of my Moscow friends are outside the company. A friend introduced me to Vika Gazinskaya, a well-known Russian designer. I met her group. The rest is history.

Every act I see, their whole act is choreographed. I'm sick of seeing these dancers. The only reason they have them is they don't have enough talent to get people dancing themselves.

Part of the Hong Kong style is the fact that a lot of the performers can perform the moves, and we don't over-rehearse this stuff.

It's weird when you see pieces of choreography that were done for you 15 or 20 years ago and now they are being done by another dance company.

Just a whole different style, just a whole different way of going about an audience and a way about skating. And they are so brilliant in their own way, which is great, and that's what Brian was saying; is the styles are different, and it's the whole mentality.

Style has replaced elegance. Before, I believed that style is something a person embodied. But now it's so easy to buy good style if you have the money.