I'd have no rituals, but I'm a person of compulsive habit. That's just some awful residue of a ritual. And one of the reasons for that is my living this life, which is otherwise so free of obligations. It's not at all unusual for anybody who's independently employed to crave a way of living whereby they create the structures without which their lives would otherwise start slopping around all over the place.
I start. . . from a belief in individual freedom and that derives fundamentally from a belief in the limitations of our knowledge, from a belief. . . that nobody can be sure that what he believes is right, is really right. . . I'm an imperfect human being who cannot be certain of anything, so what position. . . involved the least intolerance on my part?. . . The most attractive position. . . is putting individual freedom first.
There is no such thing as a perfect person in this world. We all must become the main characters or the stars of our lives. We are all different and start differently. But from whatever is our circumstances, it is very important that we find the opportunities to try out what we want to do.
I think for a lot of artists, if you're lucky enough to have a kind of career, especially toward the end, you start to think about what the whole ensemble looks like. It's the whole that counts. The parts are given, but you don't know how the whole thing's going to look when it's all put together.
Then, without realizing it, you try to improve yourself at the start of each new day; of course, you achieve quite a lot in the course of time. Anyone can do this, it costs nothing and is certainly very helpful. Whoever doesn't know it must learn and find by experience that a quiet conscience makes one strong.
The first time I started choreographing was in the dark, in my living room, with the lights completely out, to some popular music on the radio. I put the radio on full blast and I started moving. I didn't know what it looked like. I didn't want to see it. . . I had to start in the dark.