When I first began choreographing, I never thought of it as choreography but as expressing feelings. Though every piece is different, they are all trying to get at certain things that are difficult to put into words. In the work, everything belongs to everything else - the music, the set, the movement and whatever is said.

Sometimes I'm asked if I do research for my stories. The answer is yes and no. No, in the sense that I seldom plow through books at the library to gather material. Yes, in the sense that the first fifteen years of my life turned out to be one big research project.

I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.

When I judge art, I take my painting and put it next to a God made object like a tree or flower. If it clashes, it is not art.

One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.

The poet complains or points out the discontent that lies at the heart of man, the individual man, and how can that be redeemed?