For me, choreography is a process of physical thinking. It's very much in mind as well as in body.
Viewing movies in very slow motion, looking for synchrony, one realizes that what we know as dance is really a slowed-down, stylized version of what human beings do whenever they interact.
It's not that he lacked poetry. But his poetry was of the body, not the mind. He spoke it in the way he moved, the way he held a hammer, rowed a boat, built a fire. I, on the other hand, was like a brain in a box, a beating heart in a coal scuttle.
Filmmakers tell actors to adjust their body language, and the famous presence of the actor is his or her body language. That is what makes them special and a movie star. An actor's capital is his body.
Everyone who makes films has to be an athlete to a certain degree because cinema does not come from abstract academic thinking; it comes from your knees and thighs.
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?'
I really like doing action. It's one of those things where I negotiate the world physically, I think, more than mentally. I enjoy running and jumping.
In a dancer, there is a reverence for such forgotten things as the miracle of the small beautiful bones and their delicate strength.
Architecture is a wrapping for the human body, and dance is the finest expression of the body.
