Graeme Murphy Quotations

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 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.

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

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

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

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

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

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

And dance is wonderful because dance is so immediate.

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

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

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

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

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.

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

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

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.

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

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

I think the Olympics could help us reach more people.

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.

So putting the Black Swan in Act 1 where Tchaikovsky put it and not cutting repeats just to make your life easier - because it was there for a reason.

And then towards the end, in the '60s... and '50s and '60s, there was great controversy 'cause they brought a few French troupes out.

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.

Some are less giving, others are more reticent and you actually have to create for them. Others have within them the next step.

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.

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.

I'm not interested in a group of people with some sort of incredible homogeny,a group that can do the movement I want. I'm interested in people whocan take the movement somewhere.