I don't think people we'll miss the fact that SDC is way up there and that our profile is high.
I think the Olympics could help us reach more people.
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'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 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.
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.
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.
I look at the dancers and I get the inspiration for the work from them.
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.
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.
SDC has a great reputation for putting live music on stage.
I actually build my dreams around the dancers I've got in my company.
It's not a company of exponents of my style.
And dance is wonderful because dance is so immediate.