http://www.sonic.net/~goblin/0morris.html
Goblin: There’s always so much stomping around going on in your work — it’s the basis of ethnic dance. Actually it seems like the Rites of Spring by Stravinsky would be such an obvious piece for you to choreograph, cause it’s such stomping music.
Morris: I don’t just stomp.
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Goblin: People don’t point out much you have an extreme love of intricacy.
Morris: Yeah . . . . but I trick them because they think it’s simplicity.
Goblin: They always say it’s simple but they’re stupid.
Morris: Right, well there you go. I love the way in which I make up dances. It’s a complicated way and the product is usually clear. Clear and simple. I don’t need everybody to know that there are all of these fabulous things going on. If you CAN see it, that’s wonderful.
Goblin: You’re like Shakespeare in that you have very broad gestures – any idiot, any groundling could get, like the man standing on the other mans chest at the end of a parade for instance, yet there’s so much subtle stuff going on for the connoisseur. That the universality of appeal is unique among choreographers of our generation.
Morris: Great!
…
Goblin: What is your impression of the Riverdance craze?
Morris: Oh, they’re bad. I just like that they line up so well. It would be easy to shoot them. You could just mow them down all in one line.
