1 00:00:01,720 --> 00:00:04,440 Speaker 1: And that's what you really missed with Jenna. 2 00:00:04,440 --> 00:00:09,960 Speaker 2: And Kevin an iHeartRadio podcast, Welcome to You, and that's 3 00:00:09,960 --> 00:00:12,400 Speaker 2: what you really missed Today is a I know we 4 00:00:12,440 --> 00:00:15,440 Speaker 2: say this a lot, but today I have someone I 5 00:00:15,440 --> 00:00:18,520 Speaker 2: have known for forever. Jenna has known him for almost 6 00:00:18,520 --> 00:00:23,000 Speaker 2: as long. But we have Chris Scott, the choreographer from 7 00:00:23,000 --> 00:00:26,439 Speaker 2: Wicked and Wicked for good and just everything. He's done, 8 00:00:26,600 --> 00:00:30,960 Speaker 2: lots and lots of things. Three time Emmy nominee. He 9 00:00:31,000 --> 00:00:33,240 Speaker 2: did Dancing with the Stars and so you think you 10 00:00:33,280 --> 00:00:35,680 Speaker 2: can dance at alex ste He was in the Glee pilot, 11 00:00:36,159 --> 00:00:38,519 Speaker 2: a bunch of the step ups, I could really in 12 00:00:38,560 --> 00:00:42,000 Speaker 2: the heights, lots of things. But he's so talented and 13 00:00:42,240 --> 00:00:45,320 Speaker 2: so nice and so kind and it has been a 14 00:00:45,400 --> 00:00:49,319 Speaker 2: wild ride to watch him take over the world. So 15 00:00:49,640 --> 00:00:52,000 Speaker 2: we get to talk to him. It's a fascinating conversation 16 00:00:52,000 --> 00:00:55,520 Speaker 2: about Wicked. We learned all the things. This is Chris Scott. 17 00:00:56,160 --> 00:00:56,720 Speaker 3: FUA. 18 00:00:57,200 --> 00:00:58,920 Speaker 2: How you doing good. 19 00:00:59,000 --> 00:00:59,960 Speaker 3: I'm good. I'm still good. 20 00:01:00,000 --> 00:01:03,320 Speaker 1: How y'all doing It's good to see you you too. 21 00:01:04,440 --> 00:01:05,360 Speaker 2: Are you exhausted? 22 00:01:06,480 --> 00:01:11,560 Speaker 3: I'm in the best way possible. I am exhausted, I'm rejuvenated. 23 00:01:11,880 --> 00:01:14,640 Speaker 3: I'm all the things so great. 24 00:01:14,680 --> 00:01:19,240 Speaker 4: Congratulations, yeah, congrats, and just having the biggest movie in 25 00:01:19,240 --> 00:01:20,720 Speaker 4: the world again. 26 00:01:21,400 --> 00:01:23,920 Speaker 3: It's crazy. I mean I think I do. I will 27 00:01:23,920 --> 00:01:26,760 Speaker 3: say this is very full circle to me sitting here 28 00:01:26,800 --> 00:01:28,480 Speaker 3: with you all, because I remember, I don't know if 29 00:01:28,480 --> 00:01:34,320 Speaker 3: you guys remember, but before Lee happened, when you guys 30 00:01:34,319 --> 00:01:36,360 Speaker 3: shot it, before it was ever out into the world, 31 00:01:36,400 --> 00:01:38,319 Speaker 3: there was a birthday party, I think it was Amber's 32 00:01:38,319 --> 00:01:41,760 Speaker 3: birthday party, and we all hung out. I was like, 33 00:01:41,840 --> 00:01:46,080 Speaker 3: this group is so special and group of talent. It was. 34 00:01:46,120 --> 00:01:49,520 Speaker 3: It was karaoke night and we're all like out of 35 00:01:49,560 --> 00:01:51,880 Speaker 3: control talent, and I was like, this is amazing. So 36 00:01:51,920 --> 00:01:55,640 Speaker 3: now to be here today chatting with y'all about wicked. 37 00:01:56,360 --> 00:02:02,320 Speaker 4: So wild, Yes, Like I've known Chris since I was 38 00:02:03,080 --> 00:02:07,640 Speaker 4: six fifteen sixteen, wow, something something like that. 39 00:02:09,080 --> 00:02:11,840 Speaker 2: And it has been such like a gift to watch 40 00:02:11,880 --> 00:02:16,680 Speaker 2: you and John sort of rise together through this and 41 00:02:16,800 --> 00:02:20,240 Speaker 2: just do bigger project after bigger project, things that are 42 00:02:20,280 --> 00:02:22,920 Speaker 2: so beloved by people all around the world, like it 43 00:02:22,919 --> 00:02:27,880 Speaker 2: couldn't happen to anybody nicer and you just haven't stopped. 44 00:02:28,080 --> 00:02:30,240 Speaker 2: And it's been just incredible to watch because you know, 45 00:02:30,720 --> 00:02:33,360 Speaker 2: we've been around long enough where things don't always happen 46 00:02:33,440 --> 00:02:38,120 Speaker 2: to the nice ones, and it's really nice when they 47 00:02:38,160 --> 00:02:43,680 Speaker 2: do and deserved. And I'm just so extraordinarily proud and 48 00:02:43,880 --> 00:02:44,520 Speaker 2: happy for you. 49 00:02:45,000 --> 00:02:48,560 Speaker 3: Yes, thank you, thank you, and make me emotional already 50 00:02:48,639 --> 00:02:50,359 Speaker 3: we're just starting. I can't get you. 51 00:02:50,320 --> 00:02:54,720 Speaker 5: Already, you can let it out. 52 00:02:54,840 --> 00:02:55,640 Speaker 2: Yeah, it's good to crect. 53 00:02:57,840 --> 00:03:01,200 Speaker 5: Well, we're so happy to have you here, full circle, 54 00:03:01,520 --> 00:03:03,560 Speaker 5: just to talk about all the amazing things. I mean, 55 00:03:04,040 --> 00:03:06,600 Speaker 5: tell us a little bit about what the Wicked ride 56 00:03:06,639 --> 00:03:10,600 Speaker 5: has been like for you. And I know you and 57 00:03:10,720 --> 00:03:13,800 Speaker 5: John have worked together forever, So what were those like 58 00:03:13,840 --> 00:03:16,359 Speaker 5: early conversations like and kind of getting in the room 59 00:03:16,400 --> 00:03:17,760 Speaker 5: like you got in the room with us, What was 60 00:03:17,800 --> 00:03:20,079 Speaker 5: it like gating in the room with like that cast 61 00:03:20,120 --> 00:03:22,840 Speaker 5: and all those special people, because obviously the chemistry is 62 00:03:23,080 --> 00:03:24,840 Speaker 5: similar and that it's electric. 63 00:03:25,440 --> 00:03:28,639 Speaker 3: Yeah, no, it is. It is crazy. It's been it's 64 00:03:28,680 --> 00:03:29,320 Speaker 3: been a journey. 65 00:03:29,360 --> 00:03:29,520 Speaker 4: You know. 66 00:03:29,560 --> 00:03:32,880 Speaker 3: It is interesting because we you know, starting off, even 67 00:03:32,960 --> 00:03:39,960 Speaker 3: just jumping in with John was like already it was weird. 68 00:03:40,000 --> 00:03:41,880 Speaker 3: It was like this familiar feeling of like, Okay, cool, 69 00:03:41,880 --> 00:03:43,520 Speaker 3: we're doing this just like we do anything. It's the 70 00:03:43,720 --> 00:03:47,080 Speaker 3: web series of LEXD. It's a commercial that's the thing. Yeah, 71 00:03:47,120 --> 00:03:48,800 Speaker 3: it's all just the same, you know, at the end 72 00:03:48,840 --> 00:03:51,160 Speaker 3: of the day, at the core of it all, there's 73 00:03:51,200 --> 00:03:54,920 Speaker 3: a story to tell, and that's something that John's really 74 00:03:55,080 --> 00:03:58,400 Speaker 3: stilled in me as a choreographer and just as a 75 00:03:58,400 --> 00:04:02,280 Speaker 3: general storyteller. So I think the first feeling I had 76 00:04:02,440 --> 00:04:05,440 Speaker 3: was like, Okay, this is a very complicated story. This 77 00:04:05,520 --> 00:04:09,520 Speaker 3: is a massive undertaking, but there's a it's a beautiful story, 78 00:04:10,560 --> 00:04:13,160 Speaker 3: you know, and John's all over it. And John's going 79 00:04:13,200 --> 00:04:15,280 Speaker 3: to get in there with a microscope and I'm gonna 80 00:04:15,280 --> 00:04:19,560 Speaker 3: be standing off his shoulder and digest everything that he 81 00:04:19,600 --> 00:04:21,839 Speaker 3: can throw at me. And he throws a lot at you. 82 00:04:21,839 --> 00:04:25,159 Speaker 3: You know. John is like it's you can tell from 83 00:04:25,160 --> 00:04:28,080 Speaker 3: the work like it really is. He is so thoughtful 84 00:04:28,839 --> 00:04:31,159 Speaker 3: and so it is this kind of it. It was 85 00:04:31,200 --> 00:04:33,920 Speaker 3: like a lot of anxiety of like, Okay, we're taking 86 00:04:33,920 --> 00:04:37,080 Speaker 3: on this, this beloved piece. But it was also a 87 00:04:37,080 --> 00:04:38,840 Speaker 3: lot of excitement because I was like, oh, I get 88 00:04:38,880 --> 00:04:42,160 Speaker 3: to do this with John bringing me into this world, 89 00:04:42,760 --> 00:04:46,400 Speaker 3: and I just can't wait to see what he's got going. 90 00:04:48,279 --> 00:04:49,840 Speaker 3: So that was kind of the beginning stages. I mean, 91 00:04:49,880 --> 00:04:51,520 Speaker 3: I went to his house, you know, the way that 92 00:04:51,560 --> 00:04:55,160 Speaker 3: he invited me into the movie. Was just very casual, 93 00:04:55,200 --> 00:04:58,320 Speaker 3: almost in like and how we are and he just 94 00:04:58,360 --> 00:04:59,680 Speaker 3: I came over to his house one day he hands 95 00:04:59,680 --> 00:05:02,240 Speaker 3: me it hat. I knew it was happening, but I 96 00:05:02,240 --> 00:05:05,080 Speaker 3: don't ever ask, like, hey, like, yeah, what's going on 97 00:05:05,120 --> 00:05:06,760 Speaker 3: with your next movie? Can I do? I don't do. 98 00:05:06,920 --> 00:05:10,560 Speaker 3: He's got enough pressure on him. Yeah, and he just 99 00:05:10,640 --> 00:05:12,279 Speaker 3: you know, he handed me a wicked hat and was 100 00:05:12,320 --> 00:05:13,760 Speaker 3: like you ready to go to Odds? 101 00:05:13,800 --> 00:05:16,720 Speaker 2: And I was damn wow. 102 00:05:16,400 --> 00:05:19,440 Speaker 3: Let's go. And then that was at that point, it 103 00:05:19,480 --> 00:05:20,440 Speaker 3: was like let's get to work. 104 00:05:21,200 --> 00:05:25,080 Speaker 2: And now when was this? Was this like twenty twenty No. 105 00:05:25,240 --> 00:05:29,560 Speaker 3: It was it was like twenty what was it, twenty 106 00:05:29,640 --> 00:05:32,240 Speaker 3: twenty two? I think it was like, okay, you were 107 00:05:32,240 --> 00:05:34,240 Speaker 3: because when did we film? I mean, it's been such 108 00:05:34,240 --> 00:05:36,160 Speaker 3: a journey. I might be off a year. I can't 109 00:05:36,200 --> 00:05:37,240 Speaker 3: even gotta get back. 110 00:05:37,360 --> 00:05:40,840 Speaker 2: Also, the pandemics like time's not real and completely messed 111 00:05:41,000 --> 00:05:41,520 Speaker 2: everything up. 112 00:05:41,880 --> 00:05:45,880 Speaker 3: It messed up everything, but you know, getting back on track. Yeah, yeah, 113 00:05:45,880 --> 00:05:50,800 Speaker 3: it was like February March of twenty twenty two, because 114 00:05:50,839 --> 00:05:57,159 Speaker 3: then I was out in London, you know, in like 115 00:05:57,320 --> 00:06:01,960 Speaker 3: June July, so it was to start auditioning dancers, which 116 00:06:02,000 --> 00:06:05,280 Speaker 3: was that was the first process, and I watched him cast, 117 00:06:05,360 --> 00:06:08,520 Speaker 3: which was very interesting to me because yeah, him make 118 00:06:08,560 --> 00:06:12,599 Speaker 3: these decisions and hear his thought process with you know, 119 00:06:12,640 --> 00:06:16,240 Speaker 3: working with Telsea, and that was like a whole experience 120 00:06:16,279 --> 00:06:19,120 Speaker 3: too because I got to see, you know, I'm very lucky. 121 00:06:19,160 --> 00:06:21,760 Speaker 3: I feel like John always like kind of lets you 122 00:06:21,839 --> 00:06:23,520 Speaker 3: if you're if you want to sit in that seat, 123 00:06:23,560 --> 00:06:26,560 Speaker 3: he'll he'll provide it for you. Yeah, He'll open that 124 00:06:26,600 --> 00:06:28,320 Speaker 3: curtain for you and you can see all the behind 125 00:06:28,320 --> 00:06:32,360 Speaker 3: the scenes things because I remember him talking about Cynthia 126 00:06:32,360 --> 00:06:34,440 Speaker 3: when she came into the room and it was he 127 00:06:34,520 --> 00:06:38,440 Speaker 3: was just like, I mean, that's like, there's no question 128 00:06:38,800 --> 00:06:41,200 Speaker 3: it is like and then he showed me her audition 129 00:06:41,360 --> 00:06:45,560 Speaker 3: tape from his iPhone. He facetimed me and showed me 130 00:06:46,080 --> 00:06:48,760 Speaker 3: the audition through a computer through a laptop as he 131 00:06:48,800 --> 00:06:50,680 Speaker 3: facetimed the screen, so it was like a screen through 132 00:06:50,680 --> 00:06:54,680 Speaker 3: a screen through a screen, and I'm still like, I 133 00:06:54,760 --> 00:06:57,440 Speaker 3: was so deeply affected. I was like I was bawling, 134 00:06:57,600 --> 00:06:59,760 Speaker 3: you know, Wizard and I and it was just some 135 00:07:00,040 --> 00:07:04,240 Speaker 3: thing different. And then Ari was the same thing where 136 00:07:04,240 --> 00:07:05,479 Speaker 3: it was just kind of like this thing where it 137 00:07:05,520 --> 00:07:08,840 Speaker 3: was like is she Glinda? I don't know, like he was, 138 00:07:09,120 --> 00:07:11,080 Speaker 3: he was trying to figure it out. And then I 139 00:07:11,120 --> 00:07:13,520 Speaker 3: remember the moment is like she's she came back over 140 00:07:13,560 --> 00:07:16,560 Speaker 3: and over and over again, put her through the auditions, 141 00:07:17,320 --> 00:07:18,800 Speaker 3: and there was there was that point I remember him 142 00:07:18,800 --> 00:07:21,560 Speaker 3: just being like, I mean she is like she the 143 00:07:21,680 --> 00:07:26,640 Speaker 3: modern day Glinda, and she is, you know, invested in 144 00:07:26,680 --> 00:07:28,920 Speaker 3: this in a way that like there's no there's no 145 00:07:28,920 --> 00:07:33,000 Speaker 3: one else. Yeah, yeah, it's been a special And then 146 00:07:33,040 --> 00:07:35,080 Speaker 3: just one by one, then Jonathan Bailey and you're like, 147 00:07:35,160 --> 00:07:37,760 Speaker 3: this is Michelle yo, Jeff go is Just one by 148 00:07:37,800 --> 00:07:40,200 Speaker 3: one they started flying and you're like, wow, this is 149 00:07:40,240 --> 00:07:43,679 Speaker 3: a cast that no matter what happens in this movie. 150 00:07:43,720 --> 00:07:46,120 Speaker 3: Like at that point, it was like they're special. You 151 00:07:46,200 --> 00:07:48,280 Speaker 3: have all the pieces of the puzzle in place. Now 152 00:07:48,280 --> 00:07:50,240 Speaker 3: we just got to go. We'll get to work. 153 00:07:50,680 --> 00:07:54,160 Speaker 2: What what is that process like of because you assemble 154 00:07:54,240 --> 00:07:58,320 Speaker 2: this sort of like All Star crew, but you don't 155 00:07:58,360 --> 00:08:03,240 Speaker 2: necessarily know personality, is chemistry going to be there, how 156 00:08:03,480 --> 00:08:08,520 Speaker 2: people's work processes when you all finally get together to 157 00:08:08,560 --> 00:08:11,600 Speaker 2: start working through. Obviously everyone's super professional. I already know 158 00:08:11,600 --> 00:08:16,000 Speaker 2: the answer, Like everyone's great and wonderful, but you know, 159 00:08:16,080 --> 00:08:19,920 Speaker 2: like you've taught me before, Like things people learn differently, 160 00:08:19,960 --> 00:08:22,920 Speaker 2: things fit on people's bodies differently. Like what was that 161 00:08:23,080 --> 00:08:27,360 Speaker 2: dynamic like of finding a rhythm I guess and what 162 00:08:27,440 --> 00:08:31,400 Speaker 2: you do and that that influence like what you were 163 00:08:31,400 --> 00:08:34,839 Speaker 2: coming up with in terms of choreography for the movie. 164 00:08:35,240 --> 00:08:39,679 Speaker 3: Yeah, one hundred percent. I mean I my mentality is to, 165 00:08:41,040 --> 00:08:44,320 Speaker 3: you know, embrace the versions of the characters that these 166 00:08:44,360 --> 00:08:47,000 Speaker 3: actors are playing. And I think that's something I developed 167 00:08:47,000 --> 00:08:48,680 Speaker 3: through the years. I didn't always used to be like that. 168 00:08:48,720 --> 00:08:50,240 Speaker 3: I think there was a time when I was younger 169 00:08:50,240 --> 00:08:53,199 Speaker 3: as a boreographer where I was like, you know, get 170 00:08:53,240 --> 00:08:55,440 Speaker 3: to the dance, tell the story that I'm picturing in 171 00:08:55,480 --> 00:08:58,760 Speaker 3: my head right like presented to everybody, and hope it 172 00:08:58,840 --> 00:09:01,960 Speaker 3: all kind of just locks them together right now. It's like, 173 00:09:02,000 --> 00:09:04,920 Speaker 3: you know, these actors won their top notch, they're the 174 00:09:05,000 --> 00:09:10,319 Speaker 3: highest level. They have a perspective like I have a 175 00:09:10,400 --> 00:09:12,000 Speaker 3: version of Alpha, but in my head, we all do. 176 00:09:12,720 --> 00:09:15,880 Speaker 3: But what's Cynthia Arrivo's version, because that's the version that 177 00:09:15,880 --> 00:09:19,120 Speaker 3: we're going to tell, right then what is Jeff Goldblum's 178 00:09:19,160 --> 00:09:22,440 Speaker 3: version of the Wizards? So then Ari's version of Linda? 179 00:09:22,520 --> 00:09:25,520 Speaker 3: So we sat down, I sat down one by one. 180 00:09:25,880 --> 00:09:29,720 Speaker 3: Before I started, I had ideas of choreography, but really 181 00:09:30,080 --> 00:09:32,680 Speaker 3: it started with me asking them like how do they 182 00:09:33,280 --> 00:09:35,360 Speaker 3: see their characters? And it was early on, so I 183 00:09:35,480 --> 00:09:38,520 Speaker 3: know that their character is also going to develop. Yeah, 184 00:09:38,600 --> 00:09:41,480 Speaker 3: so you ask the questions. But then you also, you know, 185 00:09:41,559 --> 00:09:44,040 Speaker 3: with open ears, kind of just let it play out 186 00:09:44,160 --> 00:09:48,760 Speaker 3: and yeah, just pivot as you develop more. And they 187 00:09:48,800 --> 00:09:51,240 Speaker 3: each had so much interesting things to say. I mean, 188 00:09:51,280 --> 00:09:57,280 Speaker 3: I canmer each way crazy, Like I remember Cynthia talking 189 00:09:57,320 --> 00:10:01,280 Speaker 3: about like the realization that like alphab you know, she's 190 00:10:01,360 --> 00:10:04,160 Speaker 3: not or like she comes from money, so like the 191 00:10:04,240 --> 00:10:06,400 Speaker 3: idea that she doesn't know how to dance and this 192 00:10:06,400 --> 00:10:09,520 Speaker 3: this idea that she's not elegant and that she's the thing. 193 00:10:09,600 --> 00:10:12,280 Speaker 3: She's like, it doesn't that's not the case for her. 194 00:10:12,440 --> 00:10:14,800 Speaker 3: I was like, great, got it, check and then that's 195 00:10:15,000 --> 00:10:18,760 Speaker 3: that did it? Yeah, you know, played a huge helping 196 00:10:18,800 --> 00:10:23,920 Speaker 3: hand for me to to create movement for her. You know. Jeff, 197 00:10:23,960 --> 00:10:26,320 Speaker 3: I remember he started off the whole thing by just 198 00:10:26,559 --> 00:10:28,360 Speaker 3: we were talking like this and then he just goes 199 00:10:28,400 --> 00:10:30,479 Speaker 3: you know, because Chris, you know, I am a sentimental 200 00:10:30,520 --> 00:10:33,079 Speaker 3: man and I always longed to be a father and 201 00:10:33,080 --> 00:10:34,920 Speaker 3: and I'm like, oh, he's gonna do oh, he's doing 202 00:10:35,000 --> 00:10:38,800 Speaker 3: it like a monologue. He's doing sentimental funny. So not 203 00:10:38,840 --> 00:10:44,640 Speaker 3: only character, he explained the character. I'm like watching him 204 00:10:44,920 --> 00:10:47,560 Speaker 3: tell like he's showing me the character efforts. And he 205 00:10:47,600 --> 00:10:49,680 Speaker 3: did it a second time. He did it in loops like, 206 00:10:49,720 --> 00:10:51,240 Speaker 3: so then he just kept going. I was thinking like, 207 00:10:51,240 --> 00:10:53,480 Speaker 3: oh my god, am I gonna have to like cut 208 00:10:53,559 --> 00:10:55,600 Speaker 3: Jeff golb Off because we also do a herse at 209 00:10:55,640 --> 00:10:58,839 Speaker 3: some point. And the second time you did it, I 210 00:10:58,880 --> 00:11:00,800 Speaker 3: was like, Okay, this is interesting. Take it all in. 211 00:11:00,880 --> 00:11:02,440 Speaker 3: And then the third time he did it, he did 212 00:11:02,480 --> 00:11:04,480 Speaker 3: it a third time, I'm like, surely he's not going 213 00:11:04,520 --> 00:11:07,280 Speaker 3: to do a fourth. But for me it started going like, oh, 214 00:11:07,360 --> 00:11:10,000 Speaker 3: he's not just showing me who the wizard is. He's 215 00:11:10,360 --> 00:11:13,480 Speaker 3: experiencing the wizard in real time right now. I see 216 00:11:13,559 --> 00:11:17,040 Speaker 3: him figuring it out. Yeah, yeah, yeah, conversation. And then 217 00:11:17,080 --> 00:11:19,280 Speaker 3: the fourth time he was gonna he was starting to 218 00:11:19,320 --> 00:11:21,560 Speaker 3: do it, and it was like, you know, I feel 219 00:11:21,559 --> 00:11:24,440 Speaker 3: like I got the information we'rep and it was like Jeff, 220 00:11:24,440 --> 00:11:26,079 Speaker 3: hold on, I got an idea, and then like we 221 00:11:26,120 --> 00:11:27,840 Speaker 3: get it up on it speaking He's like, okay, and 222 00:11:27,840 --> 00:11:30,200 Speaker 3: he's like, yeah, he the candy floor. He just started 223 00:11:30,240 --> 00:11:30,520 Speaker 3: to play. 224 00:11:30,600 --> 00:11:31,480 Speaker 1: Yeah wow. 225 00:11:31,880 --> 00:11:33,320 Speaker 2: I mean that's what it's all about. Like to be 226 00:11:33,400 --> 00:11:35,720 Speaker 2: at that level, right, like this is the biggest level 227 00:11:35,760 --> 00:11:38,720 Speaker 2: you can do something, and to understand that, like you 228 00:11:38,880 --> 00:11:43,319 Speaker 2: have to be able to allow that playfulness, allow that 229 00:11:43,440 --> 00:11:45,640 Speaker 2: because like everyone's done their work. These are people who 230 00:11:45,679 --> 00:11:48,160 Speaker 2: are at the top levels of their profession like you, 231 00:11:48,840 --> 00:11:52,679 Speaker 2: and like everyone's done the research and they're coming in 232 00:11:52,720 --> 00:11:55,160 Speaker 2: and just like what does this big soup look like 233 00:11:55,200 --> 00:11:56,320 Speaker 2: when we mix it all together? 234 00:11:56,840 --> 00:11:59,280 Speaker 3: Absolutely, and which I would be remiss if I didn't 235 00:11:59,320 --> 00:12:01,800 Speaker 3: bring up my conversations with Jonathan Bailey because that was 236 00:12:01,800 --> 00:12:04,400 Speaker 3: actually very interesting to me too. And I remember when 237 00:12:04,440 --> 00:12:06,240 Speaker 3: he came in and we were talking about the depth 238 00:12:06,280 --> 00:12:10,080 Speaker 3: of Fierro, which you know, typically there is a version 239 00:12:10,679 --> 00:12:14,319 Speaker 3: where it's you know, it's this playoff of the scarecrow 240 00:12:14,800 --> 00:12:16,960 Speaker 3: and that idea that he doesn't have a brain and 241 00:12:16,960 --> 00:12:19,400 Speaker 3: that he's kind of like ditsy and the things. But 242 00:12:19,440 --> 00:12:22,640 Speaker 3: with Jonathan, it was very like there was so much 243 00:12:22,679 --> 00:12:25,480 Speaker 3: behind the eyes when he would talk about it, you 244 00:12:25,640 --> 00:12:28,480 Speaker 3: just get this sense of like such a rich character 245 00:12:29,160 --> 00:12:34,120 Speaker 3: that this like actor is about to die into and 246 00:12:34,160 --> 00:12:36,679 Speaker 3: it really inspired all of it. I mean we were 247 00:12:37,559 --> 00:12:39,760 Speaker 3: together like finding moments where it's like, oh, it's dancing 248 00:12:39,760 --> 00:12:42,199 Speaker 3: recory and we're doing this, and then you know, it 249 00:12:42,200 --> 00:12:44,640 Speaker 3: would be like in choreography a moment where he just 250 00:12:44,679 --> 00:12:46,840 Speaker 3: kind of stops and looks at things and you see 251 00:12:47,240 --> 00:12:48,880 Speaker 3: these moments and it's like whoa, and then he's back 252 00:12:48,880 --> 00:12:51,960 Speaker 3: into the dances. Yeah, and it was interesting. 253 00:12:52,080 --> 00:13:02,360 Speaker 2: Yeah, you talked about you know, all these all these 254 00:13:02,360 --> 00:13:08,680 Speaker 2: people having perspectives of their characters. What was your or povs, 255 00:13:08,760 --> 00:13:10,760 Speaker 2: you know, like what was your pee of your perspective 256 00:13:11,520 --> 00:13:14,840 Speaker 2: of I guess like the language of dance through OZ, 257 00:13:15,080 --> 00:13:17,000 Speaker 2: you know, like I feel like munch can Land or 258 00:13:17,040 --> 00:13:21,600 Speaker 2: all these different places have yeses, They all have different people, 259 00:13:21,640 --> 00:13:25,120 Speaker 2: they all have different demographics. Like did that come into 260 00:13:25,200 --> 00:13:27,720 Speaker 2: like when you're all building every department building this world 261 00:13:27,760 --> 00:13:33,040 Speaker 2: together on a dance level, Like how did that inform 262 00:13:33,280 --> 00:13:35,040 Speaker 2: like what you were coming up? Like when we get 263 00:13:35,080 --> 00:13:38,160 Speaker 2: to in the first movie, when we get to OZ 264 00:13:38,200 --> 00:13:39,760 Speaker 2: for the first time, like when we get to. 265 00:13:40,200 --> 00:13:45,000 Speaker 6: My god, it's the number I'm blinking one short day, 266 00:13:45,080 --> 00:13:47,200 Speaker 6: one short day, And you're like, oh, that is a 267 00:13:47,200 --> 00:13:49,640 Speaker 6: whole different style of choreography now, we're here and there's 268 00:13:49,640 --> 00:13:54,079 Speaker 6: a little cameo and like, you know, I was like, oh, 269 00:13:54,120 --> 00:13:56,240 Speaker 6: I love that we're switching this up, Like what was 270 00:13:56,920 --> 00:13:58,080 Speaker 6: what were those decisions? 271 00:13:58,160 --> 00:14:00,520 Speaker 2: Like, how did you like your creative process? 272 00:14:02,000 --> 00:14:04,880 Speaker 3: No, definitely, I love first of all, I love y'all questions. 273 00:14:05,120 --> 00:14:13,200 Speaker 3: You guys, it's different when you talk and a real deal. Yeah, 274 00:14:13,360 --> 00:14:17,520 Speaker 3: you know, No, it was really you know it the 275 00:14:17,559 --> 00:14:19,840 Speaker 3: first thing. Okay, it's like, well, this idea of world 276 00:14:19,960 --> 00:14:23,920 Speaker 3: building was really strong to me because I'm like, well, 277 00:14:23,960 --> 00:14:26,600 Speaker 3: that's what we're doing. You know, I'm here to support John. 278 00:14:26,600 --> 00:14:28,560 Speaker 3: I'm here to support the things I should I need, 279 00:14:28,600 --> 00:14:31,200 Speaker 3: and I'm watching him really build this world with all 280 00:14:31,200 --> 00:14:34,560 Speaker 3: the other departments. So if I'm building a dance, what 281 00:14:34,600 --> 00:14:37,720 Speaker 3: does that world look like? And the interesting thing, you know, 282 00:14:37,720 --> 00:14:40,640 Speaker 3: one of the first thoughts I had was well, it's odd, 283 00:14:40,760 --> 00:14:44,000 Speaker 3: so it's not of this world, so you want stuff 284 00:14:44,040 --> 00:14:49,040 Speaker 3: to feel a little unworldly. But it's also like, you know, 285 00:14:49,120 --> 00:14:52,800 Speaker 3: dances a human thing. Dances are very is a you know, 286 00:14:52,840 --> 00:14:56,920 Speaker 3: it's been built through this world, through culture, through thousands 287 00:14:56,960 --> 00:15:01,160 Speaker 3: of years of ritual and expression connections, so you're like, 288 00:15:02,080 --> 00:15:04,480 Speaker 3: you know, it's all there as well, so it's funny. 289 00:15:04,480 --> 00:15:06,040 Speaker 3: At first, I was like I wanted to feel like 290 00:15:06,280 --> 00:15:08,640 Speaker 3: out of this world. And then I started gravitating more 291 00:15:08,680 --> 00:15:11,840 Speaker 3: towards like, what's the inspiration I find from this world 292 00:15:11,880 --> 00:15:16,840 Speaker 3: that's actually I can project into this world, which then 293 00:15:16,880 --> 00:15:19,240 Speaker 3: became interesting. I'm very meta, as you can tell. Then 294 00:15:19,240 --> 00:15:22,400 Speaker 3: it was like, well, this is like the whole one 295 00:15:22,440 --> 00:15:26,640 Speaker 3: of this, Like is oz a real, actual place, like 296 00:15:26,680 --> 00:15:29,640 Speaker 3: what you know? Is it like the idea of the 297 00:15:29,640 --> 00:15:33,160 Speaker 3: Wizard coming from Omaha to hear what's his influence on 298 00:15:33,200 --> 00:15:35,560 Speaker 3: the world. So it started to become like this really 299 00:15:36,360 --> 00:15:41,600 Speaker 3: crazy journey. But it really started with each country in 300 00:15:41,640 --> 00:15:44,320 Speaker 3: Oz really as I started to like break it down 301 00:15:44,480 --> 00:15:47,200 Speaker 3: and I wanted to give each place its own style, 302 00:15:47,280 --> 00:15:50,880 Speaker 3: its own identity, culture, its own identity, so you know, 303 00:15:50,960 --> 00:15:53,800 Speaker 3: and munchkin Land was like, it's the working class, it's 304 00:15:53,880 --> 00:15:59,160 Speaker 3: the the builders, it's the artist, it's the people that 305 00:15:59,200 --> 00:16:01,800 Speaker 3: make the die, that make the yellow, the ricks and 306 00:16:01,840 --> 00:16:05,280 Speaker 3: the thing. So it became like really grounded and like 307 00:16:05,360 --> 00:16:09,560 Speaker 3: in the dirt, and I pictured, you know, I've been 308 00:16:09,760 --> 00:16:13,120 Speaker 3: working with a friend Editrres Junior in the Latin dance scene, 309 00:16:13,120 --> 00:16:15,560 Speaker 3: and I've gotten to know the history around Latin dance, 310 00:16:15,600 --> 00:16:17,600 Speaker 3: so I kind of took a lot of elements from that, 311 00:16:17,640 --> 00:16:20,640 Speaker 3: which comes from Africa, you know, the roots of it all. 312 00:16:20,680 --> 00:16:22,360 Speaker 3: So it's like it started to like take the shape 313 00:16:22,400 --> 00:16:25,240 Speaker 3: of like, oh, this is like the inspiration. And then 314 00:16:25,800 --> 00:16:27,360 Speaker 3: then you get to Shiz and you're like, well, what 315 00:16:27,440 --> 00:16:31,080 Speaker 3: do a bunch of anxious teenagers look like when they dance? 316 00:16:31,120 --> 00:16:35,040 Speaker 3: That's why they go up. It wasn't just like cool 317 00:16:35,080 --> 00:16:38,960 Speaker 3: movement with books. It was really like and that's why 318 00:16:38,960 --> 00:16:40,680 Speaker 3: they hold on to them so tight, because you want 319 00:16:40,720 --> 00:16:43,800 Speaker 3: to create this world of like, you know, frustration and 320 00:16:44,160 --> 00:16:47,240 Speaker 3: anxiety so that then Fierro can come into this world 321 00:16:47,240 --> 00:16:51,360 Speaker 3: and disrupt it all. You know. But then where does 322 00:16:51,400 --> 00:16:53,400 Speaker 3: he come from? You come from wiki country, which is 323 00:16:53,440 --> 00:16:57,040 Speaker 3: the military base. It's like, so that's why it's a 324 00:16:57,080 --> 00:16:59,840 Speaker 3: lot of like stepping and footwork and things. But then 325 00:16:59,840 --> 00:17:02,440 Speaker 3: you're like, well, what's but Fierra doesn't play by the rules, 326 00:17:02,440 --> 00:17:04,520 Speaker 3: so you have to get deep into that and now 327 00:17:04,600 --> 00:17:07,720 Speaker 3: he's I took a lot of inspiration from house dance 328 00:17:07,840 --> 00:17:11,120 Speaker 3: because of how does he free that up a little bit? Yeah, 329 00:17:11,600 --> 00:17:13,400 Speaker 3: and then it just kept going and then to get 330 00:17:13,440 --> 00:17:16,600 Speaker 3: to and then Gillikin just to touch them all. Now 331 00:17:16,720 --> 00:17:20,440 Speaker 3: that's where Glinda's from, and it's wealthy, and so you 332 00:17:20,480 --> 00:17:24,600 Speaker 3: tap into the ballet and uh, that's a dance format 333 00:17:24,680 --> 00:17:29,240 Speaker 3: was built in wealth and and it's you know, so 334 00:17:29,600 --> 00:17:32,360 Speaker 3: you're in that world and then Emerald City comes in, 335 00:17:32,520 --> 00:17:34,840 Speaker 3: and that's one of my favorite worlds because this is 336 00:17:34,920 --> 00:17:38,280 Speaker 3: like how I grew up in a metropolitan city. And 337 00:17:38,320 --> 00:17:40,960 Speaker 3: then you see all walks of life. That's why we 338 00:17:41,000 --> 00:17:43,800 Speaker 3: have all these different styles together. 339 00:17:43,840 --> 00:17:46,119 Speaker 2: That's so funny you say that, because when it got 340 00:17:46,160 --> 00:17:47,880 Speaker 2: to Emerald City, I'm like, this is Chris. 341 00:17:48,040 --> 00:17:48,840 Speaker 1: Yeah. 342 00:17:49,119 --> 00:17:53,120 Speaker 2: Immediately I was just like besides seeing you like in it, 343 00:17:53,760 --> 00:17:57,719 Speaker 2: just like this is like this is the Chris I know, 344 00:17:58,040 --> 00:17:59,879 Speaker 2: and like a really like joyful you know it was, 345 00:18:00,640 --> 00:18:03,920 Speaker 2: which also then shows how capable and like deeply thinking 346 00:18:04,000 --> 00:18:06,959 Speaker 2: about thinking about everything else too. Yeah, because I think 347 00:18:07,000 --> 00:18:09,760 Speaker 2: it's just like an actor where you can like lose 348 00:18:09,760 --> 00:18:13,080 Speaker 2: them in a character. It's beautiful to be able to 349 00:18:13,119 --> 00:18:16,960 Speaker 2: see dance or the choreographer do that as well, and 350 00:18:17,000 --> 00:18:18,760 Speaker 2: the different switching up the different styles. 351 00:18:19,080 --> 00:18:19,639 Speaker 1: Yeah. 352 00:18:19,720 --> 00:18:22,920 Speaker 5: You also you had mentioned it before, but like this 353 00:18:22,960 --> 00:18:25,720 Speaker 5: is a massive undertaking for something that was so beloved 354 00:18:25,720 --> 00:18:29,040 Speaker 5: for so many years and was already a phenomenon. So 355 00:18:29,480 --> 00:18:32,360 Speaker 5: how do you how was that for you? And how 356 00:18:32,400 --> 00:18:38,399 Speaker 5: do you take something so iconic and and established and established, yeah, 357 00:18:38,440 --> 00:18:40,800 Speaker 5: and then flip it on his head, but also keep 358 00:18:40,840 --> 00:18:44,240 Speaker 5: the integrity of what you know, the people who created this, 359 00:18:46,359 --> 00:18:49,560 Speaker 5: you know, did, while also putting you know, the stamp 360 00:18:49,600 --> 00:18:52,879 Speaker 5: of your what your influences were, and the storytelling that 361 00:18:52,960 --> 00:18:56,280 Speaker 5: you guys are choosing how you're choosing to approach it, 362 00:18:56,760 --> 00:18:57,400 Speaker 5: Like what is that? 363 00:18:57,560 --> 00:18:57,639 Speaker 1: Like? 364 00:18:58,600 --> 00:19:01,200 Speaker 3: Yeah? I mean you know, I'm I'm I'm a lover 365 00:19:01,320 --> 00:19:04,000 Speaker 3: of the story, Like I'm a fan of the property myself. 366 00:19:04,040 --> 00:19:06,920 Speaker 3: So then it kind of just turned into like, well, 367 00:19:07,000 --> 00:19:08,879 Speaker 3: just take care of it like you would want to 368 00:19:09,520 --> 00:19:12,159 Speaker 3: if I'm an audience member, which i am, I'm like, 369 00:19:12,320 --> 00:19:16,280 Speaker 3: take care of it for anybody that loves this property. 370 00:19:16,280 --> 00:19:20,359 Speaker 3: That really was the first audience I was thinking about personally. 371 00:19:20,840 --> 00:19:22,320 Speaker 3: I mean, I feel like we all kind of were 372 00:19:22,359 --> 00:19:25,200 Speaker 3: in that world for all the other department heads or anything, 373 00:19:25,240 --> 00:19:29,200 Speaker 3: but it just felt like this innate responsibility to give 374 00:19:29,320 --> 00:19:32,320 Speaker 3: these people that have already been so deeply affected by 375 00:19:32,400 --> 00:19:36,719 Speaker 3: this show something that they'd be proud of. You know. 376 00:19:37,200 --> 00:19:39,440 Speaker 3: Another thing early in my career, like I wasn't as 377 00:19:40,560 --> 00:19:42,919 Speaker 3: aware of an audience I was just making stuff, and 378 00:19:42,960 --> 00:19:45,240 Speaker 3: I think now I'm like, oh, we're making stuff for 379 00:19:45,280 --> 00:19:48,399 Speaker 3: people too. People like work really hard and I and 380 00:19:48,440 --> 00:19:51,800 Speaker 3: I to buy the ticket to the theater to like 381 00:19:51,840 --> 00:19:55,320 Speaker 3: have an experience, and we owe them that. So and 382 00:19:55,359 --> 00:19:58,040 Speaker 3: then you add Wicket on top of that, and it 383 00:19:58,240 --> 00:20:01,920 Speaker 3: just became like a mission to of like how do we, yeah, 384 00:20:02,160 --> 00:20:04,400 Speaker 3: like get the people what they want? 385 00:20:05,680 --> 00:20:07,240 Speaker 1: Yeah, that's a line from the movie. 386 00:20:09,640 --> 00:20:13,639 Speaker 2: Well, I imagine it starts with or like at the top. 387 00:20:13,920 --> 00:20:15,960 Speaker 2: I feel like John is such a fan of things 388 00:20:17,040 --> 00:20:20,800 Speaker 2: and respectful in that way, like you guys had already 389 00:20:20,840 --> 00:20:24,520 Speaker 2: done in the Heights, which again is another beloved property, 390 00:20:25,040 --> 00:20:28,479 Speaker 2: right it means a lot to so many people, and 391 00:20:28,520 --> 00:20:32,240 Speaker 2: you guys successfully did that. And so I feel like, 392 00:20:32,280 --> 00:20:36,600 Speaker 2: do you think, like knowing him for so long and 393 00:20:36,880 --> 00:20:40,160 Speaker 2: also how you work of like when you come into 394 00:20:40,160 --> 00:20:44,040 Speaker 2: a project like that out of the respect of war 395 00:20:44,119 --> 00:20:46,520 Speaker 2: fans of this, then it just sort of trickles down 396 00:20:46,560 --> 00:20:49,240 Speaker 2: to every department or like everybody in it just wants 397 00:20:49,320 --> 00:20:51,960 Speaker 2: to has the same mission or approaching it in the 398 00:20:51,960 --> 00:20:52,400 Speaker 2: same way. 399 00:20:53,440 --> 00:20:56,680 Speaker 3: Yeah. Absolutely, I mean John really does create an environment 400 00:20:56,800 --> 00:20:59,240 Speaker 3: that is no matter what it is, Like I'll do 401 00:20:59,320 --> 00:21:02,040 Speaker 3: a commercial with him. It's like we're all leaving, like, 402 00:21:02,119 --> 00:21:06,160 Speaker 3: oh my god, you're like hugging, You're like almost a tear. 403 00:21:06,560 --> 00:21:08,840 Speaker 3: It's you know, it's an interesting thing. And I think 404 00:21:08,880 --> 00:21:11,439 Speaker 3: it's such a testament to what a leader he is 405 00:21:11,480 --> 00:21:14,480 Speaker 3: as well as a creative genius. And I don't say 406 00:21:14,480 --> 00:21:17,560 Speaker 3: that word like some people, but like he really And 407 00:21:17,640 --> 00:21:19,199 Speaker 3: I'm so proud that I feel like I've gotten to 408 00:21:19,240 --> 00:21:23,080 Speaker 3: watch his growth in all of it. You have like 409 00:21:23,640 --> 00:21:26,200 Speaker 3: row seats, front row seat, and it's like, I remember 410 00:21:26,200 --> 00:21:27,760 Speaker 3: when we did Step Up to the streets. 411 00:21:27,960 --> 00:21:32,240 Speaker 2: Yes, it was a big look amongst all of us. 412 00:21:32,280 --> 00:21:33,359 Speaker 2: That was a big deal. 413 00:21:33,720 --> 00:21:36,560 Speaker 3: Yes, no, it was a big deal and and it 414 00:21:36,680 --> 00:21:39,919 Speaker 3: was amazing and it felt like this special thing. And 415 00:21:39,960 --> 00:21:43,480 Speaker 3: I remember, I'll never forget Once John told me about 416 00:21:43,480 --> 00:21:45,919 Speaker 3: Step Up three was gonna happen. He came to my apartment. 417 00:21:45,960 --> 00:21:48,480 Speaker 3: Now we're all friends, we've done we've all battled Miley 418 00:21:48,520 --> 00:21:51,880 Speaker 3: Cyris on YouTube. You were we didn't get you in there, 419 00:21:51,920 --> 00:21:58,960 Speaker 3: we got but you know, he told me before Step 420 00:21:59,040 --> 00:22:00,399 Speaker 3: Up three he was like, you know it's going to 421 00:22:00,440 --> 00:22:03,600 Speaker 3: be like that again. Step Up two is special, Okay. 422 00:22:03,640 --> 00:22:06,520 Speaker 3: He was preparing me for this new version of a 423 00:22:06,560 --> 00:22:08,760 Speaker 3: movie because he just thought, you know, through the system 424 00:22:08,800 --> 00:22:10,800 Speaker 3: of Hollywood, it was going to become now like oh, 425 00:22:10,840 --> 00:22:13,680 Speaker 3: we're making the sequel. Things are going to change, there's 426 00:22:13,680 --> 00:22:16,760 Speaker 3: gonna be different treatment, yeah, personalities, you know. But it 427 00:22:16,800 --> 00:22:19,959 Speaker 3: wasn't the case. It really was just as special and 428 00:22:20,000 --> 00:22:22,720 Speaker 3: it felt like, again, we're just making this beautiful thing, 429 00:22:23,440 --> 00:22:26,119 Speaker 3: you know, with John at the helm, creating this energy 430 00:22:26,240 --> 00:22:29,040 Speaker 3: that you just want to give your heart and soul 431 00:22:29,080 --> 00:22:30,760 Speaker 3: to it because you see him doing it. I mean, 432 00:22:30,800 --> 00:22:33,920 Speaker 3: he's like in that rain scene, that young director was 433 00:22:34,040 --> 00:22:36,399 Speaker 3: running in and out of the rain, fixing things and 434 00:22:36,400 --> 00:22:38,480 Speaker 3: pulling things again, and he'd be back at the monitor 435 00:22:38,600 --> 00:22:39,240 Speaker 3: like here we. 436 00:22:39,200 --> 00:22:42,840 Speaker 1: Go, and and he was like, yeah, this is yeah. 437 00:22:42,920 --> 00:22:44,800 Speaker 3: And from them, I mean, it always was like, oh, 438 00:22:44,880 --> 00:22:47,560 Speaker 3: this is these are the people I want to work for. Yeah, 439 00:22:48,000 --> 00:22:49,760 Speaker 3: and now I've been able to get to work with 440 00:22:49,800 --> 00:22:57,280 Speaker 3: this specific person for over eighteen years now, and it's like, man, yeah. 441 00:22:55,960 --> 00:22:58,480 Speaker 2: I think one of the best signs of a leader 442 00:22:58,800 --> 00:23:02,479 Speaker 2: is knowing how and where to delegate and trust the people. 443 00:23:02,640 --> 00:23:06,960 Speaker 2: And like he trusts you clearly, and like you know, 444 00:23:07,760 --> 00:23:12,199 Speaker 2: obviously John deserves all the praise, but you also have 445 00:23:12,400 --> 00:23:16,000 Speaker 2: been doing a huge part of all these projects, and 446 00:23:16,840 --> 00:23:19,840 Speaker 2: you know that comes with you're not continuously getting hired 447 00:23:19,880 --> 00:23:23,360 Speaker 2: for something if you're not good people putting the right 448 00:23:24,119 --> 00:23:26,679 Speaker 2: vibe like he is out there. Because you're also in 449 00:23:26,760 --> 00:23:29,639 Speaker 2: charge of a lot as a choreographer, especially in Wicked. 450 00:23:30,600 --> 00:23:34,160 Speaker 2: You had a hell of a lot of dancers. Yeah, 451 00:23:34,240 --> 00:23:38,840 Speaker 2: doing a lot and all these like crazy scenes and 452 00:23:38,880 --> 00:23:43,439 Speaker 2: sets that you guys built, like how And I feel 453 00:23:43,440 --> 00:23:46,440 Speaker 2: like because of the progression of different films you guys 454 00:23:46,440 --> 00:23:50,119 Speaker 2: have done together in projects, are you comfortable now like 455 00:23:50,960 --> 00:23:53,919 Speaker 2: being in charge of running that department because it is 456 00:23:53,960 --> 00:23:55,880 Speaker 2: a full ass huge thing. 457 00:23:56,600 --> 00:24:00,719 Speaker 3: Yeah. Yeah, I've grown up a lot. This was a 458 00:24:00,720 --> 00:24:03,959 Speaker 3: big one for me to grow up on. But it's 459 00:24:03,960 --> 00:24:05,960 Speaker 3: funny because you're you're the pressure is so high, you like, 460 00:24:06,000 --> 00:24:08,040 Speaker 3: you can't grow up on the project. You got to 461 00:24:08,119 --> 00:24:08,520 Speaker 3: kind of. 462 00:24:08,440 --> 00:24:09,960 Speaker 2: Just like you got to get through it. 463 00:24:10,320 --> 00:24:11,560 Speaker 3: You got to get through it. And I and I 464 00:24:11,600 --> 00:24:14,680 Speaker 3: learned a lot, and you know, I feel more comfortable. 465 00:24:15,080 --> 00:24:16,960 Speaker 3: It's funny. I get to do all these like extra 466 00:24:18,320 --> 00:24:21,200 Speaker 3: you know, Wicked promos and these shows and the things, 467 00:24:21,200 --> 00:24:24,120 Speaker 3: and I can feel how much I've grown up since, 468 00:24:24,400 --> 00:24:25,879 Speaker 3: you know, and you don't do it alone. You know, 469 00:24:25,920 --> 00:24:29,080 Speaker 3: I had an amazing team of associate choreographers and assistant 470 00:24:29,119 --> 00:24:31,119 Speaker 3: choreographer you know, comfort for Dokey was with me. 471 00:24:31,359 --> 00:24:33,280 Speaker 2: Yes, it's not like. 472 00:24:34,720 --> 00:24:38,520 Speaker 3: Bill Loft. This was with I've been working with for 473 00:24:38,359 --> 00:24:42,400 Speaker 3: it for you know, fifteen years. And then Emilio La Saul, 474 00:24:42,480 --> 00:24:45,600 Speaker 3: who's like my guy, that's like, you know, he's the 475 00:24:45,640 --> 00:24:48,800 Speaker 3: one in that tornado wheel, like doing all the things 476 00:24:48,800 --> 00:24:52,320 Speaker 3: that I can't physically do. Yeah, he's doing I mean, 477 00:24:52,480 --> 00:24:55,960 Speaker 3: blowing my mind every day. And who was out in 478 00:24:56,000 --> 00:24:59,520 Speaker 3: London who I met and she was like an incredible 479 00:24:59,520 --> 00:25:03,080 Speaker 3: assistant with me from day one and help me cast 480 00:25:03,240 --> 00:25:07,080 Speaker 3: all those dancers, and I mean to learn to get 481 00:25:07,119 --> 00:25:09,159 Speaker 3: to know the community in London was scary for me 482 00:25:09,200 --> 00:25:11,159 Speaker 3: because I'm like, I don't know these people like you 483 00:25:11,640 --> 00:25:14,880 Speaker 3: represent the movie. And she'd opened my eyes to an 484 00:25:14,880 --> 00:25:18,760 Speaker 3: incredible world of talent. I love the dancers in London 485 00:25:19,040 --> 00:25:22,639 Speaker 3: so much. It's a beautiful community, but so much talent. Yeah, 486 00:25:22,960 --> 00:25:25,679 Speaker 3: Like I'm like dying to do more jobs in London. 487 00:25:25,680 --> 00:25:27,080 Speaker 3: I'm like, get me back out there. I love it. 488 00:25:27,240 --> 00:25:29,160 Speaker 3: Like I mean, I'm repping with the hat right now. 489 00:25:29,280 --> 00:25:30,240 Speaker 1: Yeah. 490 00:25:29,560 --> 00:25:33,480 Speaker 3: Yeah, it's yeah, It's just I'm so grateful to those 491 00:25:33,560 --> 00:25:37,640 Speaker 3: dancers that really came, they showed up, because that's that's 492 00:25:37,680 --> 00:25:39,640 Speaker 3: all it takes, too, right, Like I can do everything 493 00:25:39,680 --> 00:25:41,600 Speaker 3: I want to do and work hard and stay up 494 00:25:42,119 --> 00:25:44,560 Speaker 3: till in the morning trying to figure out these dance numbers. 495 00:25:44,560 --> 00:25:47,119 Speaker 3: But if I come in and these dancers don't invest right, 496 00:25:47,760 --> 00:25:52,320 Speaker 3: it's not going to work, you know, right, It's it's 497 00:25:52,359 --> 00:25:58,200 Speaker 3: incredible when things just like sparky yeah set, You're like, wow, 498 00:25:58,280 --> 00:26:01,280 Speaker 3: it all came together one short day. Eight was crazy 499 00:26:01,320 --> 00:26:04,480 Speaker 3: because we had one hundred and sixty dancers, we had rain, 500 00:26:05,080 --> 00:26:08,240 Speaker 3: we had the sad strike which shifted the schedule, we 501 00:26:08,280 --> 00:26:12,400 Speaker 3: lost dancers that were featured, we had to restage, reblock it. 502 00:26:12,400 --> 00:26:13,679 Speaker 1: It was wow. 503 00:26:13,840 --> 00:26:16,199 Speaker 3: We were breaking up wonners because it wouldn't work in 504 00:26:16,240 --> 00:26:18,560 Speaker 3: the space with all the dancers and the timing that 505 00:26:18,600 --> 00:26:20,639 Speaker 3: we had to shoot it Like it was this weird 506 00:26:20,800 --> 00:26:24,840 Speaker 3: like number that was like this is going to be 507 00:26:24,840 --> 00:26:28,000 Speaker 3: a big dance number, and then you know. 508 00:26:27,920 --> 00:26:31,040 Speaker 2: It turns into like the biggest Yeah yeah. 509 00:26:31,080 --> 00:26:33,119 Speaker 3: John right there We'll be like yeah, I think I 510 00:26:33,119 --> 00:26:34,920 Speaker 3: think we could just keep it, you know, bigger, bigger, 511 00:26:34,920 --> 00:26:37,120 Speaker 3: and you're just like, okay, here we go, whatever you want. 512 00:26:37,600 --> 00:26:39,640 Speaker 2: I also love like all the planning that goes into 513 00:26:39,640 --> 00:26:43,080 Speaker 2: this right, like you're building these massive sets, you're hiring dancers, 514 00:26:43,080 --> 00:26:45,600 Speaker 2: you're there for months, like and then you get to 515 00:26:45,600 --> 00:26:48,840 Speaker 2: the day of doing it, you're like, what's happening? 516 00:26:48,920 --> 00:26:50,080 Speaker 4: Are what? 517 00:26:50,080 --> 00:26:51,119 Speaker 2: What do we have to do now? 518 00:26:51,720 --> 00:26:53,359 Speaker 3: Oh? It's raining? What that's cool? So what you shoot 519 00:26:53,400 --> 00:26:56,879 Speaker 3: on the other day? Well, the strike? So that's and 520 00:26:56,880 --> 00:27:00,399 Speaker 3: then we had Kristen and Anda Like that was razy 521 00:27:00,440 --> 00:27:03,280 Speaker 3: because then you have these icons joining the thing. You're 522 00:27:03,280 --> 00:27:07,160 Speaker 3: like you're sitting there going like, what is happening one day? 523 00:27:07,280 --> 00:27:10,280 Speaker 3: Because the rain and the strike and you're going like 524 00:27:10,600 --> 00:27:15,040 Speaker 3: it's a night shoot. You're like, okay, yeah, good luck everybody. Right, 525 00:27:15,600 --> 00:27:18,679 Speaker 3: they're like John like action and then all works and 526 00:27:18,720 --> 00:27:21,040 Speaker 3: you're just like, well, you hope it works because then, yeah, 527 00:27:21,119 --> 00:27:22,600 Speaker 3: you don't know until you see it on this. 528 00:27:23,200 --> 00:27:27,080 Speaker 2: When you have every department firing on all cylinders, you 529 00:27:27,200 --> 00:27:30,280 Speaker 2: got it. When it comes time to actually the cameras. 530 00:27:29,920 --> 00:27:31,920 Speaker 1: On, it just works. 531 00:27:32,119 --> 00:27:32,679 Speaker 2: Yeah. 532 00:27:32,880 --> 00:27:35,680 Speaker 1: What about what about Dancing through Life? 533 00:27:35,840 --> 00:27:40,200 Speaker 5: Like that's such a massive undertaking too, like different locations, 534 00:27:40,800 --> 00:27:46,360 Speaker 5: different pieces, Ozda's ballroom with the ladies, Like, that's that's 535 00:27:46,440 --> 00:27:47,040 Speaker 5: huge too. 536 00:27:47,400 --> 00:27:48,080 Speaker 1: What was that one? 537 00:27:48,200 --> 00:27:50,840 Speaker 3: Like it was that's the first song I started with 538 00:27:50,960 --> 00:27:54,880 Speaker 3: when John told job, I was because I love that song. 539 00:27:54,920 --> 00:27:57,920 Speaker 3: I've always loved it. I love the melody. I think 540 00:27:57,920 --> 00:28:01,800 Speaker 3: I'm anything where they say the word so like it 541 00:28:01,880 --> 00:28:05,840 Speaker 3: warms your heart a little bit. I was like really 542 00:28:05,880 --> 00:28:08,760 Speaker 3: excited to do that number into like and I knew 543 00:28:09,760 --> 00:28:11,480 Speaker 3: in my mind. I was like, you know, on Broadway, 544 00:28:12,680 --> 00:28:15,760 Speaker 3: I think what Wayne did is brilliant, and I think 545 00:28:15,760 --> 00:28:17,800 Speaker 3: there's so much brilliant, so much he did. But when 546 00:28:17,840 --> 00:28:20,040 Speaker 3: you're like, okay, we get to take a camera now 547 00:28:20,160 --> 00:28:23,439 Speaker 3: and like be in. It was very exciting where that 548 00:28:23,520 --> 00:28:24,280 Speaker 3: number could go. 549 00:28:24,760 --> 00:28:27,440 Speaker 1: Yeah, and you took it there. 550 00:28:28,840 --> 00:28:31,440 Speaker 3: Thank you. I'm proud of it. You know, even like 551 00:28:31,960 --> 00:28:33,840 Speaker 3: people ask me all the time to like did Jonathan 552 00:28:34,440 --> 00:28:38,320 Speaker 3: Bailey do all that? How did he do? He did 553 00:28:38,640 --> 00:28:42,400 Speaker 3: all of that? Like anytime we had dance doubles or whatever, 554 00:28:42,480 --> 00:28:45,360 Speaker 3: it's just to like line up the shots. They this 555 00:28:45,600 --> 00:28:49,440 Speaker 3: cast was not letting a double grab a book with 556 00:28:49,520 --> 00:28:56,320 Speaker 3: the yeah, and you know and every little the flip 557 00:28:56,320 --> 00:28:59,640 Speaker 3: of the thing. I mean, he just did. And you know, 558 00:28:59,640 --> 00:29:03,680 Speaker 3: I was watching like pure excellence from each performance, and 559 00:29:04,160 --> 00:29:07,120 Speaker 3: it was it was really gratifying. Yeah, but it was 560 00:29:07,160 --> 00:29:09,640 Speaker 3: it was hard, you know. The tornado wheel itself was 561 00:29:09,680 --> 00:29:12,520 Speaker 3: like we didn't have it for a long time. I 562 00:29:12,560 --> 00:29:15,800 Speaker 3: was getting I had a model, a three D model, 563 00:29:15,800 --> 00:29:18,160 Speaker 3: and it's spinning and it's electric and I'm like with 564 00:29:18,240 --> 00:29:20,680 Speaker 3: a little action figuring up in there. It helped me 565 00:29:20,800 --> 00:29:24,000 Speaker 3: like kind of see sure at the end of the day, 566 00:29:24,520 --> 00:29:28,120 Speaker 3: nothing's happening. Yeah, kind of like nothing really happened until 567 00:29:28,160 --> 00:29:30,360 Speaker 3: you get inside that wheel. And then we only had 568 00:29:30,360 --> 00:29:34,080 Speaker 3: one for so long, so wow, see the layers, it's 569 00:29:34,120 --> 00:29:38,400 Speaker 3: a lot of Alice Brooks, the incredible cinematographer. We would 570 00:29:38,520 --> 00:29:40,720 Speaker 3: get together and talk about how we're going to shoot 571 00:29:40,720 --> 00:29:42,480 Speaker 3: it because you can't do a lot of things because 572 00:29:42,480 --> 00:29:46,440 Speaker 3: there's ladders around, so you can't you can put a 573 00:29:46,480 --> 00:29:49,280 Speaker 3: train arm through it. Yeah, you got to time it out. 574 00:29:49,280 --> 00:29:53,080 Speaker 3: I mean that could be a disaster. And we did 575 00:29:53,120 --> 00:29:54,800 Speaker 3: do that. We did put a crane arm in there 576 00:29:54,840 --> 00:29:57,000 Speaker 3: and that thing was rotating and we timed it perfectly. 577 00:29:57,040 --> 00:29:59,680 Speaker 2: It was just it's like really. 578 00:30:00,880 --> 00:30:04,800 Speaker 3: Special. All hands on deck. Yeah, because at the end 579 00:30:04,800 --> 00:30:06,800 Speaker 3: of the day, you know, John John wanted something. He 580 00:30:07,160 --> 00:30:09,640 Speaker 3: does this thing I think where there's like that element 581 00:30:09,680 --> 00:30:11,520 Speaker 3: not to put any pressure on his next job, but 582 00:30:11,560 --> 00:30:15,400 Speaker 3: he creates you know, with the production designer Nathan Crowley, 583 00:30:15,080 --> 00:30:17,880 Speaker 3: They're like, what's the really crazy thing that no one 584 00:30:17,880 --> 00:30:20,160 Speaker 3: will let us do? Like see that they'll let us 585 00:30:20,200 --> 00:30:20,400 Speaker 3: do it? 586 00:30:20,480 --> 00:30:22,560 Speaker 2: And then yeah, we do it. 587 00:30:22,640 --> 00:30:25,720 Speaker 3: And this was that moment. And you know, there'll be 588 00:30:25,720 --> 00:30:28,120 Speaker 3: times where I'm like, we've been talking about it and 589 00:30:28,360 --> 00:30:29,600 Speaker 3: is this going to work? Like I don't know? 590 00:30:30,680 --> 00:30:34,680 Speaker 2: So how does that? My question is like how do 591 00:30:34,800 --> 00:30:38,280 Speaker 2: those conversations happen? Because like is he talking to the 592 00:30:38,320 --> 00:30:40,360 Speaker 2: production designer and it comes to you and be like, oh, 593 00:30:40,400 --> 00:30:42,800 Speaker 2: so this dance has to is going to happen within 594 00:30:43,960 --> 00:30:47,160 Speaker 2: a set or in a wheel like and like you 595 00:30:47,280 --> 00:30:48,080 Speaker 2: have to figure it out? 596 00:30:48,200 --> 00:30:48,480 Speaker 3: Or is it? 597 00:30:48,560 --> 00:30:51,760 Speaker 2: Like hey, is it more? Is it a collaboration of 598 00:30:52,400 --> 00:30:54,800 Speaker 2: we're thin, yeah, we we're thinking about this. What would 599 00:30:54,800 --> 00:30:56,960 Speaker 2: you want for this? Like how does that work? 600 00:30:57,560 --> 00:31:00,400 Speaker 3: Yeah? I mean it's all collaboration, this whole thing really is. 601 00:31:00,400 --> 00:31:02,360 Speaker 3: It's funny. Everyone's a lot of people like who made 602 00:31:02,360 --> 00:31:04,240 Speaker 3: that move up? Where'd that come from? Where that I'm like, 603 00:31:04,280 --> 00:31:06,680 Speaker 3: at the end of the day, we have so much 604 00:31:06,720 --> 00:31:08,520 Speaker 3: conversations taking us in. 605 00:31:08,520 --> 00:31:11,480 Speaker 2: This best idea wins in the moment, the. 606 00:31:11,760 --> 00:31:14,200 Speaker 3: Best idea wins, And to be honest, it's all inspired 607 00:31:14,240 --> 00:31:16,520 Speaker 3: by the conversations that we're having, so it all kind 608 00:31:16,600 --> 00:31:20,560 Speaker 3: of forms together. You know that that Paul Taswell designed 609 00:31:20,560 --> 00:31:23,040 Speaker 3: will inspire a whole thing. So it's like, you know, 610 00:31:23,640 --> 00:31:26,760 Speaker 3: it's a really it's a beautiful thing, you know, looking back, 611 00:31:26,800 --> 00:31:28,600 Speaker 3: And that's why I did really feel like a once 612 00:31:28,640 --> 00:31:32,920 Speaker 3: in a lifetime thing because you know, or again it's 613 00:31:32,960 --> 00:31:35,520 Speaker 3: like or a John che thing because it just seems 614 00:31:35,560 --> 00:31:38,480 Speaker 3: to happen with him where it's just not always the case. 615 00:31:39,760 --> 00:31:41,840 Speaker 3: But you know that that tornado. I remember he told 616 00:31:41,880 --> 00:31:44,960 Speaker 3: me the idea, and I feel like, you know, sometimes 617 00:31:44,960 --> 00:31:48,120 Speaker 3: I'm in there with him when when the structure idea 618 00:31:48,200 --> 00:31:51,520 Speaker 3: is happening. But this one I remember him like, I 619 00:31:51,560 --> 00:31:53,640 Speaker 3: think he's been talking to Nathan already and they like 620 00:31:53,680 --> 00:31:56,160 Speaker 3: had this thought. But I know he wanted something that 621 00:31:56,200 --> 00:32:02,280 Speaker 3: felt like an Ossian bookcase. Literally, I think that became 622 00:32:02,320 --> 00:32:05,360 Speaker 3: the O and then the if you look the ladders 623 00:32:06,080 --> 00:32:08,400 Speaker 3: see and there was a moment where we did actually 624 00:32:08,440 --> 00:32:11,120 Speaker 3: line it up like you can see the word oz 625 00:32:11,880 --> 00:32:14,400 Speaker 3: in it, and you're just like, that's the level of thinking. 626 00:32:14,480 --> 00:32:15,880 Speaker 3: But then he when he told me about it, was 627 00:32:15,920 --> 00:32:18,000 Speaker 3: like he's like, do you think you can work with that? 628 00:32:18,040 --> 00:32:19,640 Speaker 3: And I'm like, I think that's incredible. 629 00:32:20,240 --> 00:32:23,360 Speaker 1: I'll figure it out. 630 00:32:22,240 --> 00:32:24,600 Speaker 3: And then yeah, he lets me play. There was a 631 00:32:24,640 --> 00:32:26,760 Speaker 3: moment when I had a different intro and I was like, 632 00:32:26,880 --> 00:32:28,440 Speaker 3: do we because you know I also then I'm like 633 00:32:28,480 --> 00:32:30,960 Speaker 3: I want to do and the everything in there, like 634 00:32:31,000 --> 00:32:34,640 Speaker 3: when do I get this opportunity again? And I play 635 00:32:34,680 --> 00:32:36,719 Speaker 3: around a little bit and then we go like, no, 636 00:32:36,760 --> 00:32:39,920 Speaker 3: I think actually this is the part the original idea 637 00:32:39,960 --> 00:32:44,440 Speaker 3: where it goes makes sense and going and and then 638 00:32:44,480 --> 00:32:46,600 Speaker 3: you know, we shot a bunch of stuff that we 639 00:32:46,680 --> 00:32:49,120 Speaker 3: had like some bt like I don't know where it 640 00:32:49,160 --> 00:32:51,560 Speaker 3: is now, but there's a whole dance break inside of 641 00:32:51,560 --> 00:32:54,520 Speaker 3: there that was kind of crazy with all these like 642 00:32:54,560 --> 00:32:59,040 Speaker 3: parkour performers flipping around, jumping around, you know, release release. 643 00:33:00,280 --> 00:33:01,520 Speaker 4: Wow. 644 00:33:10,600 --> 00:33:14,920 Speaker 2: The storytelling through dance in this movie or movies is 645 00:33:14,960 --> 00:33:19,080 Speaker 2: so important, and I think one of the most moving 646 00:33:19,360 --> 00:33:23,640 Speaker 2: moments in both movies comes from one of the dance 647 00:33:23,680 --> 00:33:29,840 Speaker 2: moves of them, like greeting each other, basically the hand 648 00:33:29,880 --> 00:33:33,800 Speaker 2: on the head moment, and when it comes back and 649 00:33:33,840 --> 00:33:40,040 Speaker 2: for good, it's really beautiful and moving. What was the 650 00:33:40,040 --> 00:33:43,800 Speaker 2: genesis of that creating something like that that is so 651 00:33:45,200 --> 00:33:48,640 Speaker 2: moving and story driven and like really important to the 652 00:33:48,680 --> 00:33:50,240 Speaker 2: two main characters relationship. 653 00:33:51,440 --> 00:33:55,640 Speaker 3: Yeah, I mean that moment at the ozdask was very 654 00:33:55,680 --> 00:33:57,520 Speaker 3: important for all of us. So we just knew it 655 00:33:57,520 --> 00:34:00,440 Speaker 3: were like, this is not you know, this is not 656 00:34:00,480 --> 00:34:02,440 Speaker 3: to be like taken lightly. And so we had a 657 00:34:02,480 --> 00:34:05,720 Speaker 3: whole process. But I had originally choreographed some stuff in 658 00:34:05,720 --> 00:34:07,440 Speaker 3: a room with a bunch of dancers and it was 659 00:34:07,520 --> 00:34:10,239 Speaker 3: like right, and they were all doing other stuff and 660 00:34:10,239 --> 00:34:11,400 Speaker 3: I was just like trying to come up with, like, 661 00:34:11,440 --> 00:34:14,040 Speaker 3: what's some oddsdesk movement, knowing it's just going to develop. 662 00:34:14,600 --> 00:34:15,880 Speaker 3: And I didn't I don't know, I didn't really love 663 00:34:15,920 --> 00:34:17,160 Speaker 3: this stuff. So it was one of those things where 664 00:34:17,160 --> 00:34:19,040 Speaker 3: and this is how we are, you know. I'm like, 665 00:34:19,080 --> 00:34:22,520 Speaker 3: it's like ten pm and we're in London and I 666 00:34:22,600 --> 00:34:25,080 Speaker 3: hit up Comfort for dok. You know, I'm like, hey, 667 00:34:25,400 --> 00:34:27,000 Speaker 3: are you down to like workshop some more stuff? I 668 00:34:27,080 --> 00:34:29,080 Speaker 3: just want to like we're not there and we have 669 00:34:29,080 --> 00:34:31,000 Speaker 3: sent it tomorrow. She's like great, I'm on my way, 670 00:34:31,280 --> 00:34:33,440 Speaker 3: came over. We're up until like one in the morning, 671 00:34:34,280 --> 00:34:37,040 Speaker 3: just workshopping stuff in like my living room of the 672 00:34:37,080 --> 00:34:40,640 Speaker 3: place I'm staying in London, and you know, it started 673 00:34:40,680 --> 00:34:43,200 Speaker 3: to develop. You know, it also started to really hit 674 00:34:43,239 --> 00:34:47,799 Speaker 3: me that the movement that Alphaba would be inspired by 675 00:34:48,280 --> 00:34:53,480 Speaker 3: isn't of of the human dance styles, because that's she 676 00:34:53,480 --> 00:34:55,960 Speaker 3: doesn't connect with those those that's the group of people 677 00:34:55,960 --> 00:35:00,759 Speaker 3: that push her away, but she does connect with animals, Like, 678 00:35:00,840 --> 00:35:03,160 Speaker 3: let's create language that really does feel like it comes 679 00:35:03,160 --> 00:35:05,680 Speaker 3: from animals. And I remember Comfort was moving around and 680 00:35:05,719 --> 00:35:08,600 Speaker 3: she hit this posture with her on her head. I 681 00:35:08,640 --> 00:35:11,520 Speaker 3: was like, I love that I was and they were 682 00:35:11,560 --> 00:35:14,160 Speaker 3: like oh and then I'm like twinkled the fingers a little, 683 00:35:14,200 --> 00:35:15,600 Speaker 3: and we found this thing and it just to me. 684 00:35:16,480 --> 00:35:18,560 Speaker 3: I'm looking at Comfort and I'm like, she looks like 685 00:35:18,600 --> 00:35:21,719 Speaker 3: a bird. And then it was like this is this 686 00:35:21,760 --> 00:35:23,480 Speaker 3: is where? And it kind of was the move that 687 00:35:23,760 --> 00:35:27,759 Speaker 3: broke through. Not only did it create this thing that 688 00:35:28,160 --> 00:35:31,360 Speaker 3: was so meaningful, but it also kind of like pushed 689 00:35:31,440 --> 00:35:33,640 Speaker 3: us forward and the rest of the choreography and then 690 00:35:33,680 --> 00:35:35,120 Speaker 3: it was just like boom, let's go with that. And 691 00:35:35,120 --> 00:35:37,080 Speaker 3: then it's like flickering the feet because you know animals 692 00:35:37,080 --> 00:35:40,880 Speaker 3: do dance, yes, you know there's reality in that. So 693 00:35:40,960 --> 00:35:44,000 Speaker 3: it became like this bird dance for a lot of it, 694 00:35:44,080 --> 00:35:46,960 Speaker 3: and I didn't know that it was going to become 695 00:35:47,080 --> 00:35:50,520 Speaker 3: the greeting yet because we took the process and we 696 00:35:51,320 --> 00:35:54,359 Speaker 3: threw it on Cynthia and then we developed the whole 697 00:35:54,440 --> 00:35:58,680 Speaker 3: dance together. So I was thinking beyond Cynthia first, because 698 00:36:00,400 --> 00:36:02,560 Speaker 3: you know, you want to create on that Cynthia feels 699 00:36:02,560 --> 00:36:05,920 Speaker 3: amazing feeling. Yeah, yeah, again, it's a collaboration. We're in 700 00:36:05,960 --> 00:36:08,680 Speaker 3: the room, we're finding stuff with Cynthia. And then once 701 00:36:08,719 --> 00:36:11,200 Speaker 3: the number felt locked and it was like she feels good, 702 00:36:11,400 --> 00:36:14,800 Speaker 3: then we brought Ari into the process and then seeing 703 00:36:15,640 --> 00:36:17,719 Speaker 3: you know, the storyline is like she has to learn 704 00:36:17,760 --> 00:36:21,280 Speaker 3: the dance and imitate it, which I hate those moments 705 00:36:21,280 --> 00:36:21,960 Speaker 3: in most. 706 00:36:22,280 --> 00:36:25,320 Speaker 2: Yes, that's a hard moment to work around. 707 00:36:25,480 --> 00:36:28,200 Speaker 3: Yes, you know, they got to make it believable, and 708 00:36:28,239 --> 00:36:31,040 Speaker 3: I feel bad for these actors because you're like, you 709 00:36:31,080 --> 00:36:33,080 Speaker 3: got to sell it. But we tried to create enough 710 00:36:33,120 --> 00:36:35,319 Speaker 3: space where it felt believable and realistic. 711 00:36:35,640 --> 00:36:40,000 Speaker 2: Totally. I totally agree with that. Yeah, the space in that, 712 00:36:40,160 --> 00:36:44,879 Speaker 2: like the pace of that whole scene, right, I never 713 00:36:45,040 --> 00:36:47,439 Speaker 2: had movies never have that much space to make those 714 00:36:47,440 --> 00:36:50,440 Speaker 2: things work like that. It has to happen like very quickly. 715 00:36:50,520 --> 00:36:53,120 Speaker 2: And because you had the time to do that, it 716 00:36:53,280 --> 00:36:56,239 Speaker 2: felt earned, in natural and organic, and. 717 00:36:56,160 --> 00:36:58,960 Speaker 1: It was so important. I mean, so it's pivotal, right, 718 00:36:59,040 --> 00:37:00,160 Speaker 1: it's so so import. 719 00:37:00,160 --> 00:37:00,600 Speaker 2: To cut you off. 720 00:37:00,640 --> 00:37:03,319 Speaker 3: Sorry, No, it's true. You're right. I'm glad you're saying 721 00:37:03,320 --> 00:37:04,920 Speaker 3: it because it's true of these movies, you know. And 722 00:37:04,920 --> 00:37:06,680 Speaker 3: then people are like, oh, so the movies too and 723 00:37:06,719 --> 00:37:10,160 Speaker 3: a half. I'm like that timeline, that number doesn't really 724 00:37:10,239 --> 00:37:12,399 Speaker 3: mean anything, because if you're not telling the story right, 725 00:37:12,480 --> 00:37:15,120 Speaker 3: then like what are we doing? Like exactly you did 726 00:37:15,160 --> 00:37:17,560 Speaker 3: that space off? I could feel it. We're all looking 727 00:37:17,600 --> 00:37:19,960 Speaker 3: like this is pretty long. I mean, chance, your life 728 00:37:20,040 --> 00:37:23,439 Speaker 3: is long. It's very. 729 00:37:25,840 --> 00:37:27,080 Speaker 2: Clows and it moves. 730 00:37:27,160 --> 00:37:29,439 Speaker 3: Yeah, and but yeah, but then as soon as Ari 731 00:37:30,000 --> 00:37:33,400 Speaker 3: did this back to her the way that they performed it, 732 00:37:33,400 --> 00:37:35,880 Speaker 3: it was like, oh, that's a that's that's something special. 733 00:37:36,000 --> 00:37:38,960 Speaker 3: That's that's that's going to be a thing. And then 734 00:37:39,000 --> 00:37:41,280 Speaker 3: it did. And it wasn't planned for the other scenes. 735 00:37:41,320 --> 00:37:43,800 Speaker 3: It just started to happen. And then like we'd be 736 00:37:43,840 --> 00:37:45,480 Speaker 3: talking about the train scene and it's like, oh, they 737 00:37:45,520 --> 00:37:47,120 Speaker 3: should do, you know, and and then it just yeah, 738 00:37:47,239 --> 00:37:50,759 Speaker 3: developed from there and now seeing people do it you 739 00:37:50,760 --> 00:37:54,120 Speaker 3: know on TikTok, it's like crazy Instagram and like using 740 00:37:54,160 --> 00:37:58,640 Speaker 3: it as like a real little you know, connection between 741 00:37:58,719 --> 00:38:00,880 Speaker 3: each other. Is like, that's really gratifying. 742 00:38:03,920 --> 00:38:07,200 Speaker 1: Before we let you go, what is the feeling that 743 00:38:07,520 --> 00:38:08,480 Speaker 1: Wicked leaves you with? 744 00:38:10,239 --> 00:38:12,480 Speaker 3: Man, there it is. Now you're going to have me 745 00:38:12,560 --> 00:38:18,640 Speaker 3: get all of this. I mean it like, I mean 746 00:38:18,680 --> 00:38:22,120 Speaker 3: it's so cliche, but it's like the idea that it 747 00:38:22,160 --> 00:38:27,080 Speaker 3: has changed me for good is like so real. Like 748 00:38:27,160 --> 00:38:32,040 Speaker 3: it's really like, you know, we've been through so much 749 00:38:32,160 --> 00:38:34,880 Speaker 3: to make this and now it's out in the world 750 00:38:35,640 --> 00:38:41,359 Speaker 3: and it just feels like, you know, there is like 751 00:38:41,400 --> 00:38:45,800 Speaker 3: a greater purpose for doing all this work. And because 752 00:38:45,800 --> 00:38:47,439 Speaker 3: it is so it's not just you know, we didn't 753 00:38:47,480 --> 00:38:51,680 Speaker 3: just make a movie that's entertained. It's to like really 754 00:38:51,719 --> 00:38:56,600 Speaker 3: impact people and to like make people feel seen, you know, 755 00:38:56,719 --> 00:38:59,600 Speaker 3: raise some questions that are challenging in certain parts of 756 00:38:59,640 --> 00:39:03,719 Speaker 3: the world. You know, it's it's a lot, it's it's 757 00:39:03,800 --> 00:39:06,439 Speaker 3: really deep, and I think being a part of that 758 00:39:08,600 --> 00:39:13,440 Speaker 3: feeling like this great sense of purpose, you know, it's 759 00:39:13,440 --> 00:39:16,040 Speaker 3: like definitely putting me on that path of like this 760 00:39:16,080 --> 00:39:17,480 Speaker 3: is the type of work I want to do, and 761 00:39:17,760 --> 00:39:19,719 Speaker 3: it should become harder and harder to be like yeah, 762 00:39:19,760 --> 00:39:23,640 Speaker 3: I'll do that, I'll do this. Like it's changed me 763 00:39:23,719 --> 00:39:27,359 Speaker 3: and I just like I'm nervous, like I don't want 764 00:39:27,360 --> 00:39:30,480 Speaker 3: to chase the experience of it all because that's different, 765 00:39:30,520 --> 00:39:32,239 Speaker 3: that's its own thing and that's going to live and 766 00:39:33,280 --> 00:39:37,560 Speaker 3: y ever. But the idea of doing things that it's 767 00:39:37,640 --> 00:39:43,160 Speaker 3: just you know, important to people, and that that yeah. 768 00:39:42,520 --> 00:39:45,799 Speaker 2: Meaningful and that's that is a good feeling to chase. 769 00:39:46,680 --> 00:39:50,520 Speaker 5: I guess to have that perspective to chase things that 770 00:39:50,640 --> 00:39:53,839 Speaker 5: are meaningful and intentional and. 771 00:39:53,680 --> 00:39:58,719 Speaker 2: In addition to creatively fulfilling and fun and of course, yeah, 772 00:39:58,760 --> 00:40:02,200 Speaker 2: all those things I want because it's poss it's possible. 773 00:40:02,280 --> 00:40:06,160 Speaker 3: We we've we've I've been lucky enough to experience it 774 00:40:06,280 --> 00:40:09,640 Speaker 3: now and and through you know, we always comes back 775 00:40:09,640 --> 00:40:10,239 Speaker 3: to John Quo. 776 00:40:13,400 --> 00:40:16,560 Speaker 2: It's like everybody comes up, he like brings the hop 777 00:40:16,640 --> 00:40:22,680 Speaker 2: because especially now, like everybody's at an age where everybody 778 00:40:23,200 --> 00:40:25,200 Speaker 2: knows what they're capable of. We all know what each 779 00:40:25,239 --> 00:40:27,839 Speaker 2: other is capable of. You trust those people, you know 780 00:40:27,880 --> 00:40:29,640 Speaker 2: they do good work. You know they're good to work 781 00:40:29,680 --> 00:40:33,120 Speaker 2: with and like you, it's you can't let this people go. 782 00:40:33,800 --> 00:40:37,719 Speaker 5: Yeah, what a joy to watch you from working with 783 00:40:37,840 --> 00:40:40,760 Speaker 5: you and you know those early glee days to seeing 784 00:40:40,800 --> 00:40:44,239 Speaker 5: you grow and you know with you without John too, 785 00:40:44,440 --> 00:40:46,239 Speaker 5: just your own career, and so you think you can 786 00:40:46,320 --> 00:40:48,960 Speaker 5: dance watching your pieces that are have always been so 787 00:40:49,040 --> 00:40:52,480 Speaker 5: meaningful to me, and like watching that and watching you 788 00:40:52,560 --> 00:40:55,600 Speaker 5: flourish into a place where now you have a path 789 00:40:55,680 --> 00:40:59,640 Speaker 5: and a purpose and you know where your next work 790 00:40:59,680 --> 00:41:01,239 Speaker 5: is going to be and what it's going to mean 791 00:41:01,280 --> 00:41:04,880 Speaker 5: to you is so important, and we're just so happy 792 00:41:05,120 --> 00:41:08,040 Speaker 5: for you, and you know, it's just been such an honor. 793 00:41:07,840 --> 00:41:10,000 Speaker 1: To chat with you again and reconnect. 794 00:41:10,160 --> 00:41:13,319 Speaker 3: So thank you me too, you know, real quick before 795 00:41:13,320 --> 00:41:15,160 Speaker 3: we got you know fun fact, do you guys know 796 00:41:15,239 --> 00:41:16,520 Speaker 3: that I was in the pilot of Glee? 797 00:41:16,920 --> 00:41:17,960 Speaker 1: Did you do one? 798 00:41:18,520 --> 00:41:24,360 Speaker 3: I am in Vocal Adrenaline original number? I don't I. 799 00:41:25,719 --> 00:41:27,640 Speaker 3: I was up on the top of the thing. I 800 00:41:27,719 --> 00:41:36,680 Speaker 3: partnered U b parts ut miss that because I was 801 00:41:36,760 --> 00:41:38,840 Speaker 3: like in the corner, because I was struggling because it 802 00:41:38,840 --> 00:41:40,720 Speaker 3: was on these risers, my style. 803 00:41:40,920 --> 00:41:44,480 Speaker 2: But because we were there, like I went and hung 804 00:41:44,520 --> 00:41:47,479 Speaker 2: out with the Vocal Adrenaline dancers. It was so long ago, 805 00:41:47,600 --> 00:41:48,440 Speaker 2: but like it was. 806 00:41:48,400 --> 00:41:51,880 Speaker 3: So long ago because then we also did the what 807 00:41:52,040 --> 00:41:53,840 Speaker 3: was the one in the mall that it was it 808 00:41:54,239 --> 00:41:57,759 Speaker 3: safety dance, Safety Dance, I'm safe, So you know it. 809 00:41:57,760 --> 00:42:01,080 Speaker 2: Was always so like that was doing the pilot. We 810 00:42:01,080 --> 00:42:02,600 Speaker 2: didn't know what the show was going to be, and 811 00:42:02,600 --> 00:42:05,680 Speaker 2: then having so many of my friends like you being 812 00:42:05,719 --> 00:42:07,720 Speaker 2: there and vocal adrenaline was so surreal. 813 00:42:08,640 --> 00:42:10,920 Speaker 3: It was just like, it's a huge flex of mine. 814 00:42:10,920 --> 00:42:12,080 Speaker 3: I tell you all the time, like I was in 815 00:42:12,120 --> 00:42:15,400 Speaker 3: the pilot. Oh g. 816 00:42:17,000 --> 00:42:17,960 Speaker 2: We were all there together. 817 00:42:20,360 --> 00:42:23,440 Speaker 1: We love it. I love it. 818 00:42:23,960 --> 00:42:26,000 Speaker 2: Thanks for doing this. We love you. I'm so proud 819 00:42:26,040 --> 00:42:30,000 Speaker 2: of you. It's like, what an incredible ride. And how 820 00:42:30,080 --> 00:42:32,080 Speaker 2: many people in the world now get to see and 821 00:42:32,080 --> 00:42:33,640 Speaker 2: love your work, Like that's just. 822 00:42:33,880 --> 00:42:37,000 Speaker 1: Millions and millions and millions yea, all over. 823 00:42:36,920 --> 00:42:39,360 Speaker 3: The world, beautiful work for them to see. And it's 824 00:42:39,400 --> 00:42:42,200 Speaker 3: important and it's powerful, and I think that's the most 825 00:42:42,360 --> 00:42:45,080 Speaker 3: gratifying thing. And I love y'all so much. 826 00:42:45,160 --> 00:42:45,920 Speaker 2: You deserve it all. 827 00:42:46,360 --> 00:42:48,000 Speaker 3: Thank you, Chris, Love you guys. 828 00:42:48,040 --> 00:42:52,439 Speaker 2: See thank you again. That was the one and only 829 00:42:53,320 --> 00:42:55,439 Speaker 2: Chris Scott. I love him. I love him so much, 830 00:42:56,000 --> 00:43:01,160 Speaker 2: sweet man. Thank you Chris for joining us. Yes, we 831 00:43:01,239 --> 00:43:04,359 Speaker 2: love to have him back, like literally known that man 832 00:43:04,480 --> 00:43:09,680 Speaker 2: since we ran like a fake club at our friend's 833 00:43:09,760 --> 00:43:12,600 Speaker 2: dance studio when we were like sixteen. We had bouncers 834 00:43:12,600 --> 00:43:17,280 Speaker 2: and everything, so embarrassing. Thank you, Chris. Go see Wicked 835 00:43:17,320 --> 00:43:20,920 Speaker 2: for good. If you haven't already, you probably have, and 836 00:43:20,960 --> 00:43:24,240 Speaker 2: that's what you really missed. Thanks for listening, and follow 837 00:43:24,320 --> 00:43:27,160 Speaker 2: us on Instagram at and that's what you really miss pod. 838 00:43:27,440 --> 00:43:29,279 Speaker 2: Make sure to write us a review and leave us 839 00:43:29,320 --> 00:43:30,799 Speaker 2: five stars. See you next time.