(JUSTIN PECK)
Well, there's a famous saying by 
George Balanchine that reads,
"There's-- there's no new steps,
only new combinations."
So it's about pulling from sort of 
movement vocabulary
that's already in existence and tweak, 
or alter that, or formulate that into
something new and original.
I think each ballet I create is 
very much a part of who I am
at that moment in time.
And a lot of the ideas are very 
personal ideas that I think about a lot,
that eventually get folded into
the workings of the ballet itself.
Something that I really prefer when 
I'm creating new works
is working with a large cast
because it adds a lot more possibility.
So it starts, for me, listening to the 
music hundreds and hundreds of times.
And sort of combing through the score,
and trying to pick up on the subtle
details and the nuances within that.
And then from there,
I start to formulate ideas 
based on that music.
The next step for my process is to
sort of use my-- my own body 
as my instrument.
And now you piqué, plié, and then
almost, like, let the arm, uh, linger.
I also spend a lot of time sketching
and drawing patterns and formations.
I get in to the studio with the dancers.
Usually I begin with the 
principal dancers,
sort of the leading dancers 
in the ballet.
And I work through the 
movement with them.
The ideas I have are thrown at these 
dancers, and they kind of
meet me halfway.
And the idea turns into something else 
based on the chemistry that occurs
between myself and a specific dancer.
And then there's a lot of time spent 
working with the corps de ballet.
Making sure they move in an 
interesting and efficient manner.
The next step would-- would be to add 
the additional elements of lighting,
and costumes, and set design,
if that applies.
It's hard for me to objectively 
assess my own work,
because I'm so inside of it, 
but I've been told from others
that they really admire the group work
and the group patterns.
And I think that maybe the way 
that my ballets have been formatted,
so far, is not so...
kind of like cut and dry, 
with the format of it.
It's constantly moving and 
shifting and changing,
and there's moments when there's a
solo dancer performing
and then they get absorbed
 into the corps,
and then it changes into maybe like a 
pas de deux and it's not so obvious.
I think. I hope, at least.
