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I design all of my costumes. I like to go out there and feel like I have contributed to every part of what I do. I choose the music, the choreographer, I've obviously chosen my coach, my costumes - all if that falls under my realm of power, my realm of influence.

I became an ardent, but never a specially good, dancer.

I never thought of myself as special or particularly good at anything. But once I started ballet, suddenly I had a new identity: prodigy.

I try to keep a low profile in general. Not with my art, but just as a person.

My own physicality, not an abstract idea, makes me a choreographer.

Dancers work and they work and they work, and they master their skills so far that improvisation just comes flowing out of them. Their natural expression of the best they can possibly be comes out of them because there is no boundary to hold them back... That's the mentality that I'm trying to create, recreate and hold on to forever.

I thought I had to make an impact on history. I had to become the greatest choreographer of my time. That was my mission. Posterity deals with us however it sees fit. But I gave it 20 years of my best shot.

I was a dancer from a young age. My parents were dancers; we were taken to a lot of ballet as children. It occurred to me that what I liked more than dancing the steps was acting the story of whatever particular performance I was taking part in.