Mark Morris

It never occurred to me that I'd have a dance company.

I build duets into bigger works. I like to see people working together. What we call a giant solo in my company is about four bars long while twenty other people are doing something dynamically. I like the charge that is set up by a lot of people doing something.

That piece has been choreographed so badly so many times. I'm loathe to do it but I may eventually because it is one of the seminal art works of the twentieth century.

No dance has ever turned out the way I thought it would, because I trust enough that I can start something with some ideas and then it takes itself somewhere.

Sure, I could give advice; I could, say, travel the world, listen to music. But all I can really say is do something you want to do and do it well. And if you want to be a choreographer, then you have to make dances.

Every child dances, and then you learn not to.

We're all in the same room, so I want people to be involved with one another, but again you can't decide exactly to what extent that operates. It varies all the time and it depends on the show, it depends on the audience, it depends on everything.

I'm not after a closed system, I mean I'm after a complicated system in structure, but as far as watching it, I don't think that everything should be decided.

If nobody comes to your shows, then it's modern dance. If everybody comes to your shows and no one likes it, is that ballet? I don't know.

Some people only work to recorded music because it's so reliable and exactly the same every time, which is exactly why I don't.