I think it requires a bit of honesty, Swan Lake.
And dance is wonderful because dance is so immediate.
I'm in the position to pick the cream of the crop.
There's a line of dancers waiting to get into Sydney Dance Company.
We can't afford big symphonies but we commission works that sound rich and symphonic because of the nature of the instrumentation and the people we work with.
It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.
And currently, there are four to five new works in the pipeline for upcoming celebrations such as the Sydney 2000 Olympics, Australian Federation, my 50th Birthday, and Sydney Dance Company's 25th Anniversary.
I mean, I think in the early days we were pretty... pretty British in our entertainment leads.
We moved, and there was a golden era in the '40s when we were so conscious of who we were as Australians.
I'm thrilled at the moment because our audiences, you know, they... the demographic is 50% male.
Dance is so joyous.
I actually build my dreams around the dancers I've got in my company.
Sydney is a very good market for us - we have a very strong following here.
Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.
We also tour nationally and internationally.
Mostly, I'm in the very enviable position that no one dictates what I do.
I look at the dancers and I get the inspiration for the work from them.
I always figure I have this tree and there's always some green fruit that's not ready to pick or blossoms that are ready to flower; there are always some ready to drop off too.
I'm interested in people who can take the movement somewhere.
It's not a company of exponents of my style.
