In my opinion, the key to dealing with the future lies in knowing where you are, even if you can't know precisely where you're going. Knowing where you are in a cycle and what that implies for the future is very different from predicting the timing, extent and shape of the next cyclical move.

Of course, my decision faced plenty of criticism. One of my fellow Japanese CEOs went so far as to call the plan “stupid” – notable, in a country where executives do not generally criticize one another in the press. Clearly, I would have to fight an uphill battle for cultural acceptance. But I was not deterred. A seismic shift demands that we adapt to a new landscape, and a seismic economic shift is exactly what Japan has undergone in recent decades, driven by the forces of globalization and digitization. The only way to compete in this interconnected internet age is to speak the language of the market – and that language is English.

Yeah, and it’s made it considerably more difficult. It’s funny when you look back now, because everybody’s sort of copied those films. They’re so ingrained in the culture now, it’s almost impossible to think there was a point where those things were completely odd and unique.

Instant information about everything and everyone often allows an individual opinion to compete with consensus and paranoia with evidence. It is a time when one blunt honest statement can finish a life-long political career, and one opinionated journalist can bully a government or a royal family. Science is not immune from such pressures. For example, how many Nobel prize-winning experiments – you think – would have been stopped, if ethics or health-and-safety regulations at that time were as zealous as they are today? I can think of more than a few.

You called it vision, I call it analyzing what my strengths were. It just so happened there was no market whatsoever for my strength, unless I was interested in becoming a show dancer, for which I tried, but I’m not tall enough. Also, when I auditioned for the Radio City Rockettes, they said, “We love your fouettés, but can’t you smile?” And things of that nature transpired between me and a commercial future. So, I managed to find a way of subsisting in the beginning by doing odd jobs, Kelly Girl temp work, selling perfume at Macy’s, and any and everything to be able to sustain studying and beginning a career with a group of dancers who were willing to devote five years, really, of their lives to me, working very seriously, with complete commitment, for not a penny.

We thought that there were certain possibilities, in terms of physical movement, in terms of community, and in terms of what dance could address in our society. And those were the issues that we went after. And we worked with a great deal of rigor. Which is to say, we were very, very dedicated. We worked six days a week, we worked at least six hours every day. We did not perform much at all. It was really about the experience of learning and exploring and growing, for five years.