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What interested me was dance - the way that it was constructed with time-space constructions, and that it was abstract. I always thought: 'Why couldn't theater be that way? Or an opera?'

Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don't any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.

I wanted to do dance with the same seriousness as art was done and acknowledged, not with the entertainment factor that is always connected to theater and film.

Minimalism now is a reaction to what came before. It's absolutely of its time. Music moved into the set theory thing, and moved out of it.

There's no dancer alive better than those of the 1950s and 1960s. It's only the energy that changes. Every now and then, someone like me comes along, and people say, 'Oh, this guy is this new thing.' But that's not so. There is no me without them. The tradition just goes on.

Honestly, I am so ignorant of how dance works that I can't even imagine a story that you would want to tell through movement.

Post-minimalism implies music that's genre-less. Minimalism was very important because it came at a time when contemporary music had become so complex, so experimental and detached that people turned away from it. Minimalism broke that trend and brought music back to the people.

We don't dance because we can't dance. Our shows, production-wise, are always quite minimal. We always try and keep it more about us having fun and stay away from gimmicks.

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.

Dance is the most fundamental of all art forms.