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I'm in the position to pick the cream of the crop.
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.
I think the Olympics could help us reach more people.
I think it requires a bit of honesty, Swan Lake.
I mean, I think in the early days we were pretty... pretty British in our entertainment leads.
I look at the dancers and I get the inspiration for the work from them.
I don't think people we'll miss the fact that SDC is way up there and that our profile is high.
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.
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.
Dance is so joyous.
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.
And dance is wonderful because dance is so immediate.
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.
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