"My choreography is sort of different and is specific to me. I don’t create what you would refer to as ‘beautiful dances,' so there haven’t been many opportunities where my work fits in. But, when it does, it works great. When I choreographed for Girls, it was just perfect. They wanted my choreography. I’m just interested in what I’m trying to make, and it either works or doesn't, but it’s always very clear."
"I’m trying to tell the story of a mother’s journey, and I think that’s something that’s universal, so I can’t put that in the English language, because then not everyone can relate. For me, this is a story that comes from total imagination and is such a visual dreamscape; I don’t want language in there. Movement, that’s my language, that’s my comfort zone. It may not be commercially viable, but that’s why I turned to Kickstarter. It was risky as hell to try to raise the money myself, but once I started spreading the word, I found a real audience of people who would support me out there."
"I love a dramatic eye. The point is to wear something memorable, and this eye is something that you’re not going to forget. It's a signature move. There’s something about makeup that reminds me of old traditions and rituals when there was a significance to what we put on our faces. It was a way to tell a story, of putting on a character, which I really love."
"I have so many friends who are holding on to jobs because it’s comfortable, and they’re afraid of shaking things up. But, nothing good comes out of being comfortable, so just jump. My darkest and scariest moments, the best stuff has come out of them. So, when I feel comfortable and good, I know it’s time to shake things up and get ready to fall on my face again — or fly."