"I first saw The Red Shoes when I was 9 or 10. The powerful story, the richness of the color affected me very much. I was taken with the archness of their approach. They took enormous care with every detail, and they took a huge risk: This was the first time a narrative movie had stopped for a 20-minute ballet sequence. But it's a film within a film, more cinema than dance. It's as if you're feeling and hearing what Moira Shearer feels and hears as she dances. It's like in Raging Bull where we shot the fight sequences inside the ring. Reality gets stretched to a dream space; it's a meditation within a film."
A version of this article appeared in the December 2011/January 2012 issue of Fast Company magazine.