A: From my earlier years, I remember Rudi van Dantzig when he was running the Dutch National Ballet. He brought intensity, passion and experience to his work. Every detail was important to him. I danced his Juliet, and in rehearsals, he could see every single person in the room. For a young dancer, that was so important. I did William Forsythe's "Artifact Suite"; we worked for weeks and it was very physical, but for a dancer, this was also an intellectual adventure. And, of course, there's Mats Ek; he's very precise and pushes you in a good way. I have always been drawn to choreographies that have emotion and soul in them.