No one was creating and I always wanted to be created on.

No one was creating and I always wanted to be created on.

Mostly, I'm in the very enviable position that no one dictates what I do.

And dance is wonderful because dance is so immediate.

I'm interested in people who can take the movement somewhere.

If the year 2000 can help us move into the future, that's fine, but I am afraid that people see it as a full stop and that one can take a big breath afterwards - you can't.

We moved, and there was a golden era in the '40s when we were so conscious of who we were as Australians.

I look at the dancers and I get the inspiration for the work from them.

Dance is so joyous.

We also tour nationally and internationally.

It's not a company of exponents of my style.

I think the Olympics could help us reach more people.

There's a line of dancers waiting to get into Sydney Dance Company.

Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.

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.

For me it was really important to get the essence out of the music for the story and not, sort of, press the music into the service of the whimsical telling of it.

But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.

I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

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 think it requires a bit of honesty, Swan Lake.

I don't think people we'll miss the fact that SDC is way up there and that our profile is high.

I'm thrilled at the moment because our audiences, you know, they... the demographic is 50% male.

Yes, Carl Vine stuck around. He's now number one composer for choreography.

SDC has a great reputation for putting live music on stage.

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.

Sydney is a very good market for us - we have a very strong following here.

I'm in the position to pick the cream of the crop.

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.

I actually build my dreams around the dancers I've got in my company.

I mean, I think in the early days we were pretty... pretty British in our entertainment leads.

You can't jam change down the American people's throat.

Members of royal families are born into a world of indulgence and entitlement, and the princelings who grow up that way may never have to develop the emotional musculature that will allow them to show self-restraint.

I have an appearance on a new TV show called 'Bar Karma' on Current TV. I had the most fun ever making this episode. I play someone with a multiple personality, and I think my fans will be surprised and get a real giggle out of it. It's a new model for TV in that it is interactive with the community.

I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.

I think it's kind of difficult to write a good Christmas song because you have a narrow framework of references that you have to work within, and at the same time you want to do something that's personally original and hopefully somewhat unique.

When I was younger, I really struggled with confidence.

Believe in your dreams and when people doubt you, prove them wrong.

You get to the end of something, you're laughing, you're like, 'That's funny, and that's funny,' and then you get to the end, and the credits come down, and you're like, 'That's it?! That's the whole thing?! You had me here for that?!' I just don't want to do that.

We need to focus on the speed with which local governments can work with businesses.

With the growth of Harvard from a small provincial college into a great University, a unique paranoia has swept the ranks of local officialdom, furrowing brows throughout University Hall. The lurking fear is that somehow, in the operations of the gigantic administrative machine, a student might get lost in the shuffle.

A dream with courage is innovation...A dream without courage is a delusion

I always want to be a messenger, a person that, you know, that's not afraid to pass on wisdom.

My process of working is that I don't create a picture, I find it.

Our financial system is so complicated and so interactive - so many different markets in different countries and so many sets of rules.

Great men are not born great they grow great . . .

It's very inexpensive to give a compliment.

It is not possible to unknow what you do know - the result of that is fanaticism.

You will rarely make wise decisions if you surround yourself with fools.

That man is rich whose pleasures are the cheapest.