My philosophy on choreography is that the making of a ballet is a team effort, and we're in this together. It's not me hammering on them. It's more about how we can elevate this piece collectively to something great.

The future of ballet is really in the hands of the creators, so if it's something that interests them to push the envelope with gender roles, then I think it will change. But if that's not of interest to a dance-maker, if their interest is to sort of preserve the way things have been done for the past 200 years, then nothing is going to change.

The reason I started dancing in the first place was my dad took me to see 'Bring In 'da Noise, Bring In 'da Funk' when I was 9.

It's expensive to get studio space and dancers. My whole first three years, I was sneaking around in the studios and getting kicked out of them. It was kind of depressing.

I think people see the social media numbers, and the assumption is made that we're running a campaign that is just social media, but I think we're running a very old-school campaign.

Now that we can read and write the genetic code, put it in digital form and translate it back into synthesized life, it will be possible to speed up biological evolution to the pace of social evolution.

The thing that 'Neuromancer' predicts as being actually like the Internet isn't actually like the Internet at all!

In a way, film and television are in the same sort of traumatic trance that print journalism is. The technology has outpaced our comprehension of its implications.