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Speaker 1: Welcome to Danielle with the Stars. I am Danielle Fischl,

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Speaker 1: a TV director, a podcaster, forever tapanga, and a mom

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Speaker 1: of two. But currently, as I speak, I am competing

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Speaker 1: as a ballroom dancer on the thirty fourth season of

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Speaker 1: Dancing with the Stars, and in the process of cutting

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Speaker 1: rugs and tearing tendons, I am recording a podcast chronicling

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Speaker 1: my earnest and difficult journey to win a Len Goodman

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Speaker 1: Mirror Ball Trophy. Each week on this podcast, I am

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Speaker 1: soaking up every little thing I can about my new profession.

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Speaker 1: I'm taking in every tip, trick and story the pros

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Speaker 1: and past contestants are willing to share with me, and

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Speaker 1: today I will be squeezing every last hours of expertise

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Speaker 1: out of my guest. An absolute legend in the world

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Speaker 1: of dance. In choreography, she made her mark on So

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Speaker 1: You Think You Can Dance and a little network experiment

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Speaker 1: you may have heard of called Dancing with the Stars.

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Speaker 1: She brought her vision to the OSCAR winning movie La

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Speaker 1: La Land and even helped shape Taylor Swift's record breaking

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Speaker 1: eras tour Oh No Big Deal. She's created for the Oscars,

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Speaker 1: the Golden Globes, the Grammys, the Emmys, which have nominated

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Speaker 1: her eight times and given her three. She is an

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Speaker 1: undeniable force in the industry. And now she's a guest

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Speaker 1: on Danielle with the Stars. So please say hello to

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Speaker 1: superstar choreographer Mandy Moore, who, like that was literally.

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Speaker 2: The best centrol ever.

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Speaker 1: Thank you so much, thank you, thank you so much

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Speaker 1: for being here. Of course, you are truly a legend.

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Speaker 3: Oh people say that. It is so weird When people

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Speaker 3: say that, I'm like, wait, I think I'm just doing

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Speaker 3: the best I can no nome most of the time.

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Speaker 1: So know how you know you're really special is when

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Speaker 1: when other very special people, like every single pro on

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Speaker 1: Dancing with the Stars says, that is a person who

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Speaker 1: knows what they're doing. That's a person we love to

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Speaker 1: work with. Like they work with a lot of different choreographers.

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Speaker 1: No one has anything to say about you other than, oh,

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Speaker 1: she's the best. She's the best of the best.

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Speaker 2: Love them and like my family. Yeah, it's weird.

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Speaker 3: You know, I've been on the show a long time

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Speaker 3: and I feel like I grew with them, and so

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Speaker 3: they really truly I consider most of them I'm family.

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Speaker 1: Well, you can tell that amongst all of you, there's

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Speaker 1: a trust, there's like a you don't have to overproduce

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Speaker 1: or over nitpick. You can give them guidance and then

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Speaker 1: let them have creative freedom, and if something's not working,

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Speaker 1: you collaborate together to fix it like you can. You

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Speaker 1: can see that, and that's always the best kind of

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Speaker 1: creative environment to be in.

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Speaker 2: One thousand percent.

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Speaker 3: And you know, I think, I'm sure we're probably gonna

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Speaker 3: get into it, but let us get into it, you know.

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Speaker 3: Like I started on that show, I had never done

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Speaker 3: a step of ballroom in my life, and it was

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Speaker 3: a really weird like experiment for me. I mean, I've

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Speaker 3: been I worked on television, so I'd choreographed on television,

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Speaker 3: but the actual art of ballroom dance in Latin dance,

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Speaker 3: like it is not my thing.

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Speaker 4: You know.

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Speaker 3: I grew up tap dancing, jazz, ballet, million other styles

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Speaker 3: that hadn't done ballroom. And when I got on the show,

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Speaker 3: I was like, I sure you want me to choreograph

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Speaker 3: because I think in my mind I thought, oh well,

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Speaker 3: if I don't know exactly all the steps, I can't

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Speaker 3: make it. But it was a really amazing process because

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Speaker 3: that's where I started to learn how to collaborate, like

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Speaker 3: you were just saying, with the pros because their choreographers

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Speaker 3: and artists and their own rights totally, and so I

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Speaker 3: just kind of became this conductor of movement for them,

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Speaker 3: and I would create with them and then basically tell

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Speaker 3: them like, you guys look crazy. You need to be

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Speaker 3: better insane y yeah, And they would probably all tell

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Speaker 3: you that like I would. You know, I used to

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Speaker 3: do this thing where I would like screenshot their wides

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Speaker 3: and I would say you look nuts here, you look

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Speaker 3: nuts here, you look nuts here, And they really started

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Speaker 3: to I think that's where I trust started to happen,

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Speaker 3: because it was like, I'm just here to make you

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Speaker 3: look greatly and then they'd be.

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Speaker 1: Like, oh, we look good on that part, now, Oh,

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Speaker 1: thank you for telling I know I as a director,

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Speaker 1: I have had a couple opportunities where there will be

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Speaker 1: a scene with a beautiful woman and she's supposed to

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Speaker 1: be sick on the couch, and so she's relaxing on

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Speaker 1: the couch and I'll just take a screenshot of the

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Speaker 1: camera and I'll come in. I'll be like, you're gonna

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Speaker 1: want to lift your chin a little bit. I'm just

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Speaker 1: gonna show you right here, and then they be like,

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Speaker 1: thanks girl, thanks girl.

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Speaker 2: Always you gotta have their back. Yes, that's exact thing.

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Speaker 1: Now, you know, we were we at each other's back.

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Speaker 1: Who was the first professional dancer you remember seeing as

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Speaker 1: a kid like that made you go, oh wow, I

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Speaker 1: want to do that.

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Speaker 2: That's a good question.

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Speaker 3: I mean, I'm a kid of the eighties, so I

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Speaker 3: grew up on MTV right and all of the eighties films,

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Speaker 3: So the ones that probably stick out the most to

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Speaker 3: me are something like a like a Flash Dance or

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Speaker 3: Journey Dancing, or John Travolta in Not Saturday Night Fever,

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Speaker 3: Staying Alive, the Jazz.

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Speaker 1: Movie, all the jazz ones like that.

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Speaker 3: But I was also a kid who grew up on

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Speaker 3: MGM Musical, so I would say, like most people, chene

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Speaker 3: Kelly freens like those were kind of my initial I

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Speaker 3: think back to being a kid and looking at dance

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Speaker 3: on you know, on the television screen. That's who I remember.

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Speaker 1: Okay, great, I know you grew up in Colorado, and

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Speaker 1: I wondered, have you ever felt bullied because you're not

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Speaker 1: from Utah?

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Speaker 2: Okay, this is a good story. I don't know if

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Speaker 2: you know this I don't so.

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Speaker 3: My dance teacher, Kim del Grosso, had a small studio

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Speaker 3: in Colorado, the Mountains of Colorado. I grew up dancing

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Speaker 3: with Kim. When I was in middle school. She sold

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Speaker 3: the studio and moved to Utah and open up what

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Speaker 3: is known as Center Stage Dance Studio, which is Julianne,

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Speaker 3: Derek Whitney, Lindsey, Jenna, like all of them. So it's

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Speaker 3: also so weird that, like, I have this crazy connection

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Speaker 3: to all these people that I know and love that

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Speaker 3: we have the same dance teacher.

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Speaker 1: Same dance teacher. Yeah, just in two different states, Colorado

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Speaker 1: and Utah. Totally totally, So you're completely connected. You're al

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Speaker 1: still part of that same family. There are so many

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Speaker 1: aspiring dancers out there who have immense talent and are

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Speaker 1: trying to make it. Who and what was the big

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Speaker 1: break that got that helped you get into the right rooms?

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Speaker 3: M let's see, this will be another good story, I guess,

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Speaker 3: Harry ann and Aba really yes, So I moved out

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Speaker 3: here at eighteen, you know, to be a dancer from

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Speaker 3: the Mountains of Colorado. I didn't know anything about anything.

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Speaker 3: I knew nothing about the business.

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Speaker 1: Did you a family here at all.

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Speaker 3: No, I had my family, had a friend here, and

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Speaker 3: I stayed on his couch for like three weeks when

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Speaker 3: I got here. I mean, it was one of those

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Speaker 3: totally like cliche stories where I was like, I drive

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Speaker 3: out in my Wrangler with a.

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Speaker 1: Dollar in my poskeet. Yeah, I'm gonna make it. I'm

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Speaker 1: gonna be a.

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Speaker 3: Star one one thousand percent. And then you know, of

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Speaker 3: course you get here and you're like, whoa, this is

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Speaker 3: a whole.

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Speaker 2: Thing here, you know.

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Speaker 3: But I ended up kind of starting to train at

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Speaker 3: the studio called Edge Performing Art Center. I don't know

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Speaker 3: if you ever heard of it, but so that was

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Speaker 3: kind of like my home base basically. And through training there,

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Speaker 3: I started to take classes with carry In and she

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Speaker 3: had just come off of tour with Madonna and one

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Speaker 3: of my teachers, Alex Magno, she took a lot of

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Speaker 3: class with and so Carrie Anne and I just kind

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Speaker 3: of started always being bookends. Whenever he would do pieces

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Speaker 3: or something like, he'd always put me on one side,

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Speaker 3: she would be my book end, and so we just

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Speaker 3: became friends. And then she started to transition into choreography

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Speaker 3: and needed an assistant, and this is at the start

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Speaker 3: of reality television, So this is like who wants to

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Speaker 3: marry a multi millionaire America's Sexiest Bachelor, like some classic

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Speaker 3: yeah yeah, And so I would be her assistant and

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Speaker 3: then lo and behold, she started getting to know more people.

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Speaker 3: We ended up being on a show called All American

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Speaker 3: Girl where Conrad whose producer of.

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Speaker 1: Green Yes, and.

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Speaker 3: Nigel Lithgow were co producers, and so we met them,

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Speaker 3: and then Nigel went over to American Idol and we

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Speaker 3: Carrianne and I ended up going to American Idol and

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Speaker 3: then she ended up getting this is a.

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Speaker 2: Very I'm almost finished.

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Speaker 3: Then Nigel went and started So You Think You Can Dance,

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Speaker 3: and had asked Carrie Anne to come over to So

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Speaker 3: you Think you Can Dance. Dancing with the Stars was

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Speaker 3: also starting with Comrade, and Carrie Anne, at a very

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Speaker 3: crazy moment, decided to go to Dancing with the Stars

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Speaker 3: because she was going to be a judge on this

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Speaker 3: brand new ballroom dancing show. And then she ended up

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Speaker 3: being this judge and then I kind of started taking

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Speaker 3: over it American Idol, so like I really and then

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Speaker 3: the rest is kind of history from there. But I

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Speaker 3: credit her was so much of my success because she

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Speaker 3: really like, if I hadn't been with her, I wouldn't

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Speaker 3: be in the rooms ununfenvable.

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Speaker 1: What a great story. Yeah, and it's so nice too

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Speaker 1: that it was like I love every time, no offense

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Speaker 1: to men. I love every time it's another woman. Yes,

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Speaker 1: that was like, listen, I see something in you. I

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Speaker 1: want you with me. Let's do this together. See my assistant,

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Speaker 1: learn from me, help me. And then when the time came,

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Speaker 1: it was like, you're ready to launch and you got

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Speaker 1: to just fly on your own.

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Speaker 2: Yes, And that's huge to be supporting other people like that.

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Speaker 3: And I learned so much about the business from her,

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Speaker 3: like seeing her navigate these rooms full of a lot

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Speaker 3: of men a lot of times, and like being in

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Speaker 3: a place where like reality television and the kinds of things

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Speaker 3: we were doing on television, it wasn't really happening, so

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Speaker 3: she was kind of also making up things as we

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Speaker 3: were going, you know. But I just loved understanding her process,

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Speaker 3: understanding how she would run the department, what meetings, what

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Speaker 3: she would say in meetings, what she didn't say in meetings.

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Speaker 3: You know, where I was just a young kid with

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Speaker 3: wanting to, you know, make up dance steps and I

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Speaker 3: learned that it was so much more than that obviously.

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Speaker 1: Right, it's a real business. You have to be a

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Speaker 1: business woman.

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Speaker 3: Yes, when you're heading a department, it's not about your

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Speaker 3: dance steps. Yeah, it's about all the other things. And

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Speaker 3: then it's still about your dance steps at the end

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Speaker 3: of the day.

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Speaker 1: So when you moved here and you were eighteen with

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Speaker 1: a dollar in your pocket at that time, right before

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Speaker 1: the reality TV boom, what was on your vision board?

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Speaker 1: What was the dream? What did you what? What was

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Speaker 1: your goal of coming here?

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Speaker 3: I mean, I was definitely going to dance for Janet

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Speaker 3: for ok I was going to go on tour with Janet,

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Speaker 3: And I was definitely going to go on if Miss

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Speaker 3: Jackson if You're Nasty, And then I was for sure

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Speaker 3: going to go on tour with Madonna. Okay, either one

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Speaker 3: of those things happened. But you know, now that I

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Speaker 3: look back, I'm like, yeah, I'm like, you know, I

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Speaker 3: was never probably going to be that person that was

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Speaker 3: going to be on tour with those people. I definitely

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Speaker 3: got to the end of a lot of those auditions,

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Speaker 3: but I was like, I'm not your girl. I don't

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Speaker 3: think Okay, you go so thankfully though, like I also

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Speaker 3: learned in that time that I was like, I really

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Speaker 3: love teaching and creating. I love choreography. I actually love

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Speaker 3: it more than being in front of the camera, really,

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Speaker 3: And that was like a really like interesting thing to

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Speaker 3: kind of learn along the way that, like, you know,

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Speaker 3: I'd be in in on film sets, you know, dancing,

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Speaker 3: and I'd just be like, I didn't care about it.

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Speaker 3: I wanted I was looking over at video Village and

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Speaker 3: I was like, man, that ad is cool, Like what's

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Speaker 3: this call sheet?

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Speaker 2: I'm like, who's that person over there? You know?

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Speaker 3: And I was way more interested in that than I

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Speaker 3: was about getting warmed up at midnight to do some

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Speaker 3: like big dance scene.

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Speaker 1: Yes, yeah, but there. It is interesting how being creative

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Speaker 1: but creative in front of the camera and a creative

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Speaker 1: behind the camera. How what different parts of your brain

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Speaker 1: you have to use. I know, for me having made

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Speaker 1: the transition from an actor to a director, being an actor,

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Speaker 1: it's like everything's about all the forward facing stuff. I

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Speaker 1: have to be in hair and makeup all the time.

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Speaker 1: I have to physically be taking care of myself out

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Speaker 1: at all times. If I have a pimple, it could

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Speaker 1: be disastrous. I have to a disaster. If I have

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Speaker 1: to have something to wear, I need to be hair

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Speaker 1: and makeup ready. I need to have a glam team.

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Speaker 1: That requires a lot of time. I have to be

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Speaker 1: good at public speaking and doing all those things. And

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Speaker 1: then as the director, I'm like, nobody gives a crap

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Speaker 1: about me. But I still get to have all the

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Speaker 1: creative juices going and work with other people, get to

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Speaker 1: their performances out of them. So it is interesting how

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Speaker 1: you're like, oh, I still get to be creative. It's

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Speaker 1: just a little different.

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Speaker 3: Yeah, it's a totally It's almost like right brain, left brain,

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Speaker 3: and somewhere way. Even though both are You're right, both

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Speaker 3: are created. It's just a very different kind of like

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Speaker 3: I don't know what's expected of you, you know, and

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Speaker 3: like I mean as a dancer, it might be slightly

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Speaker 3: different as an actor, but as a dancer on camera

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Speaker 3: it's like, man, you're just like herded like cattle. It's

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Speaker 3: just you know, and I really try to make a

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Speaker 3: thing obviously when I'm on set and not have that

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Speaker 3: happen for dancers too, that like no.

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Speaker 2: One should be treated by cattle. But you know, it's like, man.

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Speaker 3: These people are putting out their physicality and their bodies

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Speaker 3: for us to like do this amazing thing that people love,

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Speaker 3: which is dance, you know, but like the least we

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Speaker 3: can do is like respect them and make sure that

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Speaker 3: they're good, and give them a place of warm up

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Speaker 3: and give them water.

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Speaker 2: And like all the things.

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Speaker 1: Just very basic, just basics now. And I wouldn't know

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Speaker 1: any of that because on Dancing with the Stars, at

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Speaker 1: least in my experience, everybody is treated, yes, very well.

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Speaker 3: That's why that shows amazing.

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Speaker 1: I mean it is from top to bottom. I have

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Speaker 1: felt supported, listened to, understood, respected. They're absolutely with scheduling stuff.

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Speaker 1: You know, I'm super type. So like they send me

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Speaker 1: a schedule, They're like, the car will pick you up

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Speaker 1: at six forty five. I'm like, I think their cars

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Speaker 1: should pick me up at six thirty because I want

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Speaker 1: to be there at seven am instead of seven to fifteen,

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Speaker 1: because I want fifteen extra minutes warming up. And they're like, sure, weirdo,

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Speaker 1: whatever you want. Like so, I but you're right now

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Speaker 1: that I'm thinking about it. In other aspects of my life,

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Speaker 1: I would not have thought about the fact that dancers

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Speaker 1: were probably not treated very well.

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Speaker 3: Not all the time. You know, the protections aren't always there.

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Speaker 3: And I think it gets better, and I I think

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Speaker 3: now in culture just in general, maybe people are hoping

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Speaker 3: to understand and be you know, let people be heard

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Speaker 3: and seeing. Like I do think it's getting better. But

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Speaker 3: you know, it's the industry moves so fast, you know this,

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Speaker 3: and like everybody's in and out in two seconds, and

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Speaker 3: it's money, money, money, money, and you know, and unfortunately

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Speaker 3: that can start. You don't always treat people like humans

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Speaker 3: when that happens.

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Speaker 1: And sometimes also the person making the schedule is not

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Speaker 1: aware of what a dancer needs. So the person's like,

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Speaker 1: all right, we'll bring these dancers in at eleven we'll

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Speaker 1: have them on the floor at eleven oh two, and

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Speaker 1: it's like, no, no, they're gonna need they they're bought there.

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Speaker 1: They physically need to warm up, they need to drink

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Speaker 1: something like. So yeah, sometimes it's just we need to

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Speaker 1: have people who understand yes, and have can represent for

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Speaker 1: each group of people to be involved in the planning

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Speaker 1: of the days.

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Speaker 3: One thousand percent. This is why you're a great producer director. Yes,

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Speaker 3: you understand, I understand it.

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Speaker 1: Okay, here's my transition to start asking about my own dances. Wait, wait, okay,

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Speaker 1: I go weaseling my way in getting advice from one

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Speaker 1: of the goats. What do you think makes a good

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Speaker 1: student of dance?

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Speaker 3: Oh?

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Speaker 2: Vulnerability?

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Speaker 1: Okay, I love your first yes.

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Speaker 3: Because it is vulnerable to be an open enough vessel

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Speaker 3: to accept information about something that you most likely are

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Speaker 3: not good at.

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Speaker 2: Round one right, because I'm sure what you guys had

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Speaker 2: a tangle week one right?

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Speaker 3: And and you know, I don't know how you feel.

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Speaker 2: But again after saying like, I.

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Speaker 3: Don't do Latin and borrom like when these guys and

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Speaker 3: of course over the years they've taught me things, but

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Speaker 3: it is hard. The coordination is really hard, and the

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Speaker 3: weight changes hard. And as someone who understands their body,

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Speaker 3: who understands how to put themselves in front of the camera,

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Speaker 3: you have to be vulnerable to know that you are

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Speaker 3: going to look really bad and be really bad. Yeah.

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Speaker 3: First correct, and then you have to trust that you

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Speaker 3: have an amazing coach, which Posh is like the best,

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Speaker 3: really incredible. I mean he's not only like a fantastic human,

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Speaker 3: but he's also a really really great coaching dancer and choreographer.

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Speaker 1: He really is.

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Speaker 3: So you're in great hands.

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Speaker 1: I know, I've known that since moment one, I've been like,

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Speaker 1: oh I can. I started just saying trust the Pasha

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Speaker 1: because it was trust the process. At first it was,

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Speaker 1: and then it was like, oh, it's not just it's

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Speaker 1: not even about the process, it's about just totally trusting him.

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Speaker 1: And like you know, the night before my chat jaw,

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Speaker 1: we decided to speed it up, literally after doing dress rehearsal,

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Speaker 1: and then we were like, I think we need, we need,

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Speaker 1: we can do it faster now. And that was Monday

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Speaker 1: night after Saturday, me being nowhere near ready for the

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Speaker 1: dance Saturday night being like I'm I'm not even close.

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Speaker 2: I'm not even it's over.

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Speaker 3: It's over.

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Speaker 1: Forget it, drop and kick me out. I'm out of here.

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Speaker 1: And then Sunday we rehearsed all day and it was

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Speaker 1: like everything had just settled, and then all of a

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Speaker 1: sudden on Monday, I looked too comfortable and so we

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Speaker 1: sped it up. But then that added a whole new

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Speaker 1: thing to like, all right, now I've got to redo

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Speaker 1: all this.

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Speaker 2: And that's vulnerable. You said you're Type A.

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Speaker 3: I am also type so I understand this that like

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Speaker 3: you're used to being in control of how you are

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Speaker 3: going to present yourself in any sort of a way.

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Speaker 3: Great dance is when you can stop like that control

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Speaker 3: of like how it's going the outcome, and like trust

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Speaker 3: the process, vulnerable in the moment and dance from like inside.

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Speaker 3: You have to find a moment of being able to

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Speaker 3: dance from.

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Speaker 1: Like your heart.

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Speaker 3: Yes, that's when people love you. They can let go

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Speaker 3: of a like weird arm or a being with a

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Speaker 3: foot or a knee or whatever. But like if you

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Speaker 3: look like you're having the time of your life and

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Speaker 3: you're feeling this thing and you have like risen to

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Speaker 3: the occasion, people are going to be into it.

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Speaker 1: Yeah, okay, I love that vulnerability. Anything else you think

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Speaker 1: makes a good student of dance, I think.

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Speaker 3: A good combo between I would say like head and

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Speaker 3: heart that you're able to like cause I don't know

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Speaker 3: if you feel this and the bits that you've been

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Speaker 3: working with posh. But like I find when you're learning something,

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Speaker 3: it's like it starts with head and you're kind of

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Speaker 3: like mathematically trying to figure out what's going on because

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Speaker 3: you also don't want to be a hot mess. Just

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Speaker 3: like leading from your heart life and he's just twirling

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Speaker 3: you around the floor. But then you start getting super

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Speaker 3: heady and you have to then go like, okay, I

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Speaker 3: gotta feel it. I gotta like let it in my body.

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Speaker 3: And then you get all ah mess again and then

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Speaker 3: you're like no, no, no, back to the head. And

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Speaker 3: then before you know it, it's like those little interactions

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Speaker 3: get smaller and smaller and smaller, and you kind of

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Speaker 3: like put them together and you move from both your

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Speaker 3: head and your heart at the same time.

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Speaker 2: And I think that makes a really great student if

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Speaker 2: you're able to do those things.

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Speaker 1: Yes, that's a that's a very good point that And

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Speaker 1: Pasha had said that to me when we started working,

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Speaker 1: like on day one, he was like, listen, the first

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Speaker 1: layer of this is all mental. Yes, it's just a

404
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Speaker 1: matter of you remembering your steps, where your feet go,

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Speaker 1: what you're supposed to do with your hand. All of

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Speaker 1: that's in your brain. Then after you feel good about that,

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Speaker 1: then we're going to have to get into performing it.

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Speaker 1: Dancing it. Dance with your heart, dance you know, feel

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Speaker 1: the move feel, and start putting some spice in it.

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Speaker 1: If you put too much spice on it, we'll go

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Speaker 1: we'll we'll tone it back, but go all out on

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Speaker 1: the spice at first, and so we we've been we've

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Speaker 1: been working on that. I did see somebody made a

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Speaker 1: comment about our tango that I smile, I smiled a

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Speaker 1: little too much during a tango for their for their preference,

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Speaker 1: and I thought that's a great note. And yet being

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Speaker 1: that it was our first week and it was kind

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Speaker 1: of America's first introduction to me, I was okay with

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Speaker 1: it being more of a representation of me rather than

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Speaker 1: necessarily a representation of a perfect tango.

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Speaker 3: Well, it's hard. It's interesting to say it because I

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Speaker 3: always think, like a Week one, I feel for people

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Speaker 3: that have a more like serious dance. Yeah, because you're right, people,

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Speaker 3: I mean you have to understand this is also a game,

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Speaker 3: it's a show, and you have to make sure that

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Speaker 3: people connect to you.

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Speaker 1: And like me.

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Speaker 3: Yeah, yes, because you have a very bubbly personality. So

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Speaker 3: it's like it would be hard even though you're a

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Speaker 3: great actress, it would be hard to just like Week one,

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Speaker 3: be doing some like sultry serious like James bon Assassin tango. Yeah,

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Speaker 3: because then also people a might be like who is

433
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Speaker 3: this girl? Like I don't even like our she looks miserable,

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Speaker 3: and you're like no, no, no, I'm just.

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Speaker 2: Playing a character.

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Speaker 1: On top of that, with the themes, yes, the theme

437
00:18:57,119 --> 00:19:00,880
Speaker 1: was Anthem Week and my anthem was also very much

438
00:19:00,960 --> 00:19:02,960
Speaker 1: tied to my breast cancer journey, so it was.

439
00:19:02,960 --> 00:19:05,440
Speaker 2: Like stronger, right, yeah, stronger works in.

440
00:19:05,480 --> 00:19:06,679
Speaker 1: I didn't want to go out there and be like

441
00:19:09,400 --> 00:19:10,960
Speaker 1: it was like, that's just not that's not what the

442
00:19:11,040 --> 00:19:13,320
Speaker 1: story is. Like, I had to tell a story with

443
00:19:13,359 --> 00:19:16,080
Speaker 1: the tango, and even if it isn't the very traditional

444
00:19:16,119 --> 00:19:19,800
Speaker 1: story you tell with a tango, we made a decision

445
00:19:20,080 --> 00:19:22,720
Speaker 1: that fit it to me and I thought it was great.

446
00:19:22,960 --> 00:19:25,920
Speaker 1: Thank you. I had really had I'm having the time

447
00:19:25,920 --> 00:19:26,200
Speaker 1: of life.

448
00:19:26,200 --> 00:19:28,200
Speaker 3: You guys were like literally flying like there was a

449
00:19:28,240 --> 00:19:30,120
Speaker 3: really a member of wide shot where you like were

450
00:19:30,160 --> 00:19:30,840
Speaker 3: going up floor.

451
00:19:31,000 --> 00:19:32,760
Speaker 2: Yeah, I love it. I mean I love it.

452
00:19:32,760 --> 00:19:34,600
Speaker 3: When they fly in a tangle too. I'm like, this

453
00:19:34,760 --> 00:19:36,639
Speaker 3: was and you guys did a great job of that.

454
00:19:36,840 --> 00:19:37,159
Speaker 3: Thank you.

455
00:19:37,240 --> 00:19:40,520
Speaker 1: We worked really hard on that because we envisioned that

456
00:19:40,560 --> 00:19:42,800
Speaker 1: we were going to be shot from that angle where

457
00:19:42,800 --> 00:19:44,600
Speaker 1: we were going to be going toward it, and so

458
00:19:45,080 --> 00:19:47,800
Speaker 1: we worked so hard on making sure I wasn't bouncing

459
00:19:47,920 --> 00:19:49,880
Speaker 1: because I'm a bouncy human being.

460
00:19:50,080 --> 00:19:50,359
Speaker 3: Boy.

461
00:19:51,080 --> 00:19:52,919
Speaker 1: The dance really showed me how much. I love to

462
00:19:52,960 --> 00:19:57,000
Speaker 1: hops just popping into everything. I don't know what's happening.

463
00:19:57,000 --> 00:19:59,400
Speaker 1: Pasha's like, please, for the love of God, stay low,

464
00:20:00,320 --> 00:20:02,600
Speaker 1: like okay. So we worked really hard on that. Then

465
00:20:02,600 --> 00:20:04,920
Speaker 1: we worked really hard on the you know sharp shop.

466
00:20:04,960 --> 00:20:06,800
Speaker 1: I mean, we spent so much time on it, and

467
00:20:06,840 --> 00:20:08,760
Speaker 1: then we saw the shot and He's like, great, so

468
00:20:08,920 --> 00:20:13,000
Speaker 1: we're shot from behind overhead, but we'll see Spiro, which

469
00:20:13,160 --> 00:20:15,600
Speaker 1: you know again great it was. It was very cool.

470
00:20:15,880 --> 00:20:17,720
Speaker 1: But yes, we worked hard on that, and I was

471
00:20:17,760 --> 00:20:20,439
Speaker 1: proud of that moment because we did fly across the

472
00:20:20,480 --> 00:20:22,480
Speaker 1: floor and if you had been closer, you would have

473
00:20:22,520 --> 00:20:23,640
Speaker 1: seen that I was not bouncing.

474
00:20:23,920 --> 00:20:26,120
Speaker 3: I know you were not. I saw you in the mine.

475
00:20:26,119 --> 00:20:27,120
Speaker 2: I do would not thank you.

476
00:20:27,560 --> 00:20:29,760
Speaker 1: Are you all caught up on this season of Dancing

477
00:20:29,760 --> 00:20:30,960
Speaker 1: with the Stars, skies and everything?

478
00:20:31,280 --> 00:20:34,560
Speaker 3: I've watched like most of everybody's duets because also right

479
00:20:34,560 --> 00:20:35,760
Speaker 3: after the season, don't know any of it, but I

480
00:20:35,840 --> 00:20:39,000
Speaker 3: direct the tour. Oh and so part of my world

481
00:20:39,080 --> 00:20:41,000
Speaker 3: is I like, you know, love the show been on

482
00:20:41,040 --> 00:20:43,320
Speaker 3: at a million and five times, but also like I

483
00:20:43,359 --> 00:20:46,000
Speaker 3: love doing the research of like what's everybody doing? Because

484
00:20:46,040 --> 00:20:47,919
Speaker 3: I like to track your guys' stories too. So like,

485
00:20:47,960 --> 00:20:49,840
Speaker 3: if there's anything that happens with tour, then I can

486
00:20:49,920 --> 00:20:51,680
Speaker 3: kind of know, like, oh, this is where you started,

487
00:20:51,760 --> 00:20:53,399
Speaker 3: or this was a great song for you, or this

488
00:20:53,520 --> 00:20:56,280
Speaker 3: was a great kind of a hard critique moment or whatever.

489
00:20:56,320 --> 00:20:58,240
Speaker 3: It's just good to kind of know it all. So, yeah,

490
00:20:58,280 --> 00:20:59,719
Speaker 3: I'm close. I'm almost caught up.

491
00:21:00,200 --> 00:21:04,200
Speaker 1: Okay, And so you're obviously well into planning the tour now, yeah, yeah,

492
00:21:04,240 --> 00:21:06,680
Speaker 1: well I'm I'm in January, right.

493
00:21:06,560 --> 00:21:09,040
Speaker 3: It starts, yes, And it's hard because it's like I

494
00:21:09,080 --> 00:21:11,280
Speaker 3: can't get too far in because I have to see

495
00:21:11,280 --> 00:21:13,280
Speaker 3: how the season goes, you.

496
00:21:13,240 --> 00:21:15,480
Speaker 1: Know, right, and yet you can't really if you know,

497
00:21:15,520 --> 00:21:18,000
Speaker 1: season ends November twenty fifth, yes, so if you were

498
00:21:18,000 --> 00:21:20,320
Speaker 1: to wait, you'd have like one month to do an.

499
00:21:20,400 --> 00:21:22,280
Speaker 2: Entire tour stress ball change.

500
00:21:22,280 --> 00:21:23,960
Speaker 3: And I'm also a planner, so I got to like

501
00:21:24,000 --> 00:21:24,760
Speaker 3: get the stuff going.

502
00:21:24,920 --> 00:21:27,159
Speaker 1: But so you have to have the loose the bullet

503
00:21:27,160 --> 00:21:29,359
Speaker 1: points and then fill in with the details once you've

504
00:21:29,400 --> 00:21:32,920
Speaker 1: seen the whole season. We have heard a lot from

505
00:21:33,000 --> 00:21:35,200
Speaker 1: people on the show this year from other people about

506
00:21:35,240 --> 00:21:38,680
Speaker 1: how this season seems to be extra competitive.

507
00:21:39,119 --> 00:21:39,840
Speaker 2: Do you think that.

508
00:21:39,840 --> 00:21:42,280
Speaker 1: This season feels more competitive than other seasons or is

509
00:21:42,320 --> 00:21:43,320
Speaker 1: it in the same ballpark.

510
00:21:43,800 --> 00:21:46,520
Speaker 3: That's interesting. I kind of got that from you guys

511
00:21:46,520 --> 00:21:49,359
Speaker 3: in the first couple. I mean, there's every season is

512
00:21:49,400 --> 00:21:52,119
Speaker 3: its own unique beasts, you know. But I did feel

513
00:21:52,160 --> 00:21:54,560
Speaker 3: funny enough even at GMA when I like first met you,

514
00:21:54,720 --> 00:21:57,199
Speaker 3: I mean for three seconds at three am.

515
00:21:57,600 --> 00:21:58,680
Speaker 1: Those days are crazy.

516
00:21:59,280 --> 00:22:00,359
Speaker 2: I don't even under stand.

517
00:22:00,560 --> 00:22:03,560
Speaker 3: Like, honestly in GMA, I've done a seven thousand of

518
00:22:03,560 --> 00:22:05,760
Speaker 3: those gmas, and I even this year, I was like, well,

519
00:22:05,840 --> 00:22:07,639
Speaker 3: I was walking out after you guys all were like

520
00:22:07,920 --> 00:22:10,040
Speaker 3: whoa that night, I was like, what just happened? My

521
00:22:10,080 --> 00:22:13,199
Speaker 3: eyeballs were like so hot? Anyways, when I met you all,

522
00:22:13,240 --> 00:22:15,600
Speaker 3: I thought, oh, there's like a thing, there's.

523
00:22:15,359 --> 00:22:17,000
Speaker 2: Like a spark between all of you.

524
00:22:17,280 --> 00:22:19,720
Speaker 3: Like I do think that the casting was really well

525
00:22:19,760 --> 00:22:22,520
Speaker 3: done with Tena and the team, but also like you

526
00:22:22,520 --> 00:22:26,080
Speaker 3: guys are good dancers and your great personalities, and then

527
00:22:26,119 --> 00:22:28,040
Speaker 3: even the mix of the pros that are here too,

528
00:22:28,320 --> 00:22:31,560
Speaker 3: Like yeah, it's you just never know from year to year,

529
00:22:31,680 --> 00:22:34,399
Speaker 3: season to season, like who's gonna pop, who's gonna actually

530
00:22:34,400 --> 00:22:36,560
Speaker 3: like in the eleventh hour do something amazing, or who

531
00:22:36,600 --> 00:22:38,199
Speaker 3: you thought was gonna be the person and then they

532
00:22:38,240 --> 00:22:40,480
Speaker 3: kind of fall from grace or yeah, but you guys

533
00:22:40,560 --> 00:22:42,760
Speaker 3: are all in pretty high scores in the first couple

534
00:22:42,760 --> 00:22:43,720
Speaker 3: of weeks already, I.

535
00:22:43,680 --> 00:22:46,080
Speaker 1: Know, and I know that they anticipated they were not

536
00:22:46,359 --> 00:22:49,200
Speaker 1: going to do that. I know. I think last year

537
00:22:49,240 --> 00:22:51,480
Speaker 1: in particular, they started kind of high and then they.

538
00:22:51,400 --> 00:22:53,800
Speaker 2: Had nowhere to go and they're like, not, can't give

539
00:22:53,800 --> 00:22:54,640
Speaker 2: it nine point two?

540
00:22:54,880 --> 00:22:58,840
Speaker 1: Or if everyone starts it, or if a lot of

541
00:22:58,840 --> 00:23:01,080
Speaker 1: people started in eight and then three or four weeks later,

542
00:23:01,160 --> 00:23:04,119
Speaker 1: they're clearly better, but they're still getting eights. The audience

543
00:23:04,200 --> 00:23:06,040
Speaker 1: is like, well, wait a minute, I saw this person grow,

544
00:23:06,040 --> 00:23:07,240
Speaker 1: why would they still get an eight?

545
00:23:07,400 --> 00:23:09,919
Speaker 2: And it's hard. I think the audience doesn't understand that.

546
00:23:10,000 --> 00:23:12,359
Speaker 3: As a judge. Also, it's like anything the show's been

547
00:23:12,359 --> 00:23:16,680
Speaker 3: going for whatever, thirty some seasons, and everyone's gotten better

548
00:23:16,720 --> 00:23:19,040
Speaker 3: and better and better. So not only are the pros smarter,

549
00:23:19,160 --> 00:23:23,320
Speaker 3: they know how to train you guys better. Also just culturally,

550
00:23:23,400 --> 00:23:25,959
Speaker 3: everyone's gotten better and they understand dance, and I think

551
00:23:26,000 --> 00:23:27,720
Speaker 3: the kinds of people that are coming on the show

552
00:23:28,000 --> 00:23:30,679
Speaker 3: are very talented. So it is hard when you're like

553
00:23:30,680 --> 00:23:32,199
Speaker 3: I've always said that, I was like I wish we

554
00:23:32,320 --> 00:23:34,040
Speaker 3: had at some point when it got to like nines

555
00:23:34,200 --> 00:23:36,840
Speaker 3: eights and nines that you could go like nine point

556
00:23:36,840 --> 00:23:39,960
Speaker 3: one nine point two, because there are little bits of like,

557
00:23:40,000 --> 00:23:41,960
Speaker 3: oh you were better last week but not this week.

558
00:23:42,000 --> 00:23:43,320
Speaker 3: But you can't do that when it's just a nine

559
00:23:43,359 --> 00:23:45,439
Speaker 3: inutecent or an eight and nine in atcent exactly.

560
00:23:45,560 --> 00:23:48,119
Speaker 1: Yeah, they're also I think the judges honestly have the

561
00:23:48,240 --> 00:23:50,840
Speaker 1: hardest to do. They have the hardest job for one thing.

562
00:23:51,880 --> 00:23:57,760
Speaker 1: Anytime someone maybe gives criticism that is earned, even it

563
00:23:58,160 --> 00:24:01,600
Speaker 1: feels harsh and it's there, it's being said to somebody's

564
00:24:01,640 --> 00:24:05,520
Speaker 1: fave and they get booed. It's such a terrible feeling.

565
00:24:05,600 --> 00:24:09,120
Speaker 1: It's like, listen, it is their job. They're not trying

566
00:24:09,160 --> 00:24:12,480
Speaker 1: to be hurt. But none of them in any way

567
00:24:12,880 --> 00:24:16,640
Speaker 1: have a mean spirited bone in their body. We are

568
00:24:16,720 --> 00:24:18,400
Speaker 1: all there. I mean, that's the thing I think I've

569
00:24:18,400 --> 00:24:20,800
Speaker 1: been most impressed with with the show is how there

570
00:24:20,840 --> 00:24:24,640
Speaker 1: is not a single person there top to bottom, crew, ABC,

571
00:24:24,680 --> 00:24:29,639
Speaker 1: BBC Pros, dancers, anyone who's not there to absolutely just

572
00:24:29,640 --> 00:24:32,400
Speaker 1: make the best stinking program they can one thousand percent.

573
00:24:32,560 --> 00:24:34,000
Speaker 2: And it's been like that for a long time.

574
00:24:34,160 --> 00:24:35,719
Speaker 1: Yeah, I mean, they just want it to be the

575
00:24:35,720 --> 00:24:43,800
Speaker 1: most entertaining, positive enjoyable learning experience and they do such

576
00:24:43,840 --> 00:24:45,639
Speaker 1: a good job at it. So anyway, the judges, I

577
00:24:46,040 --> 00:24:47,600
Speaker 1: feel for them. As a matter of fact, I reached

578
00:24:47,640 --> 00:24:50,399
Speaker 1: out to Derek today. I don't think he follows me,

579
00:24:50,480 --> 00:24:51,880
Speaker 1: so he may not see it, but I reached out

580
00:24:51,920 --> 00:24:55,040
Speaker 1: to him because he got stuck with one word of

581
00:24:55,080 --> 00:24:57,280
Speaker 1: advice for me last week or not of advice or

582
00:24:57,400 --> 00:24:59,199
Speaker 1: his critique of me. And he said good, and I

583
00:24:59,240 --> 00:25:01,760
Speaker 1: was like, I need more. I'm going to need more.

584
00:25:01,880 --> 00:25:03,680
Speaker 1: I'm going into week three. I know on the show

585
00:25:03,720 --> 00:25:05,960
Speaker 1: you were limited to one word, but anything you're willing

586
00:25:06,000 --> 00:25:08,200
Speaker 1: to share with me. So, Derek, you see this? Yeh,

587
00:25:08,359 --> 00:25:09,480
Speaker 1: Dan sent you a DM.

588
00:25:09,680 --> 00:25:13,360
Speaker 3: Yeah, answer the DM. Come on, he knows, like that's

589
00:25:13,359 --> 00:25:15,600
Speaker 3: the thing. He's been a pro, he knows, and so he's.

590
00:25:15,400 --> 00:25:18,040
Speaker 1: I'm sure he has advice for you. Oh, he definitely

591
00:25:18,080 --> 00:25:19,720
Speaker 1: has advice for me. And I want to hear it

592
00:25:19,760 --> 00:25:34,280
Speaker 1: because I want to soak it all up. I've been

593
00:25:34,320 --> 00:25:37,399
Speaker 1: asking every podcast guest this question because it seems as

594
00:25:37,480 --> 00:25:41,280
Speaker 1: though there are two camps. Where do you fall on

595
00:25:41,359 --> 00:25:45,400
Speaker 1: the idea of whether or not celebrities quote unquote should

596
00:25:46,080 --> 00:25:49,200
Speaker 1: be allowed to have extensive dance experience before they come

597
00:25:49,200 --> 00:25:52,240
Speaker 1: on dancing with the stars. Some people think it's no problem.

598
00:25:52,280 --> 00:25:54,760
Speaker 1: It's not called let me teach you how to dance,

599
00:25:55,119 --> 00:25:57,840
Speaker 1: you know, And other people say, yeah, but it's it

600
00:25:57,920 --> 00:25:59,840
Speaker 1: doesn't seem fair. Where do you fall.

601
00:26:01,000 --> 00:26:02,800
Speaker 3: I don't have a problem with it because I also

602
00:26:02,920 --> 00:26:06,600
Speaker 3: understand that I would say probably one hundred percent of

603
00:26:06,680 --> 00:26:09,399
Speaker 3: the time, the people that have prior dance experience have

604
00:26:09,480 --> 00:26:12,360
Speaker 3: never done ballroom in Latin, and as someone who understands

605
00:26:12,400 --> 00:26:15,560
Speaker 3: the difference between ballroom and Latin and more contemporary styles

606
00:26:15,560 --> 00:26:19,679
Speaker 3: are commercial styles, even social dance styles. If someone's like, oh,

607
00:26:19,720 --> 00:26:22,480
Speaker 3: I'm a salsa dancer, like, it is not the same thing.

608
00:26:23,160 --> 00:26:26,280
Speaker 3: And honestly, a lot of the times it's almost harder

609
00:26:26,320 --> 00:26:29,399
Speaker 3: for people that have pre existing ideas about what dance

610
00:26:29,480 --> 00:26:31,560
Speaker 3: is because they get in there and they're like, oh,

611
00:26:31,600 --> 00:26:33,679
Speaker 3: this feels weird. I would never want to step this

612
00:26:33,760 --> 00:26:35,399
Speaker 3: way in my heels. I don't do that when I

613
00:26:35,440 --> 00:26:38,240
Speaker 3: do my other style. And I also just think, like,

614
00:26:39,480 --> 00:26:41,639
Speaker 3: I think the audience is smart enough to understand what

615
00:26:41,640 --> 00:26:43,080
Speaker 3: they're looking at, and I think.

616
00:26:42,960 --> 00:26:44,520
Speaker 2: People like to see growth.

617
00:26:44,880 --> 00:26:47,720
Speaker 3: So if they're seeing growth in someone who is already

618
00:26:47,760 --> 00:26:51,080
Speaker 3: a great dance performer versus someone who has had no

619
00:26:51,240 --> 00:26:53,280
Speaker 3: dance experience. I think the audience is smart enough give

620
00:26:53,320 --> 00:26:56,360
Speaker 3: them credit to understand what that journey is. I mean,

621
00:26:56,359 --> 00:26:58,360
Speaker 3: and yes, you know, everyone wants to like complain about

622
00:26:58,400 --> 00:26:59,200
Speaker 3: everything these days.

623
00:26:59,200 --> 00:27:01,439
Speaker 1: Oh yeah, everyone wants to share their opinion.

624
00:27:01,600 --> 00:27:03,840
Speaker 3: Yeah, but I think it's great. I think the show

625
00:27:03,880 --> 00:27:06,080
Speaker 3: can be for anyone. I mean, it's also like a

626
00:27:06,119 --> 00:27:08,159
Speaker 3: football player comes on and there, all of a sudden,

627
00:27:08,160 --> 00:27:09,639
Speaker 3: I had a chow chyaw really well, like you're going

628
00:27:09,720 --> 00:27:11,440
Speaker 3: to fault them for being athletic.

629
00:27:11,200 --> 00:27:11,960
Speaker 1: Right, exactly?

630
00:27:12,040 --> 00:27:12,560
Speaker 2: You know what I mean.

631
00:27:12,640 --> 00:27:15,360
Speaker 1: Technically it's unfair, you know, even even in the sense

632
00:27:15,400 --> 00:27:18,560
Speaker 1: that part of it's a personality saying that's unfair too.

633
00:27:18,760 --> 00:27:19,000
Speaker 2: You know.

634
00:27:19,520 --> 00:27:22,720
Speaker 1: So we've all got our strengths, That's what I keep saying.

635
00:27:22,720 --> 00:27:25,080
Speaker 1: Everyone keeps asking who's your biggest competition, And I'm like,

636
00:27:25,600 --> 00:27:29,520
Speaker 1: it's impossible to say, because, first of all, America is

637
00:27:29,560 --> 00:27:32,800
Speaker 1: so in charge with the votes. Yes, do they connect

638
00:27:32,800 --> 00:27:35,520
Speaker 1: to and what they find the most entertaining. Some people

639
00:27:35,520 --> 00:27:38,280
Speaker 1: truly are voting who is the best dancer here?

640
00:27:38,359 --> 00:27:41,440
Speaker 3: Yes? And some are just like I like the entertainment exactly,

641
00:27:41,760 --> 00:27:42,160
Speaker 3: Like I.

642
00:27:42,040 --> 00:27:45,320
Speaker 1: Think this person is better at dancing because I'm entertained

643
00:27:45,359 --> 00:27:47,640
Speaker 1: by them, not because they pointed their toe the right

644
00:27:47,640 --> 00:27:50,480
Speaker 1: way or because they did a good arm. So you know,

645
00:27:50,880 --> 00:27:52,720
Speaker 1: that's why I keep saying, it's like it's it would

646
00:27:52,720 --> 00:27:55,879
Speaker 1: be impossible for me to say who is competition. Everyone

647
00:27:55,960 --> 00:27:58,080
Speaker 1: is competition because we all bring our own strengths.

648
00:27:58,160 --> 00:27:59,280
Speaker 3: Yeah, and you never know.

649
00:27:59,760 --> 00:28:01,320
Speaker 1: Now that's exactly right.

650
00:28:01,960 --> 00:28:02,160
Speaker 2: Now.

651
00:28:02,200 --> 00:28:05,000
Speaker 1: Another point of contention that I've been seeing brought up

652
00:28:05,200 --> 00:28:10,840
Speaker 1: is breaking frame out here we go to possibly a

653
00:28:10,960 --> 00:28:15,000
Speaker 1: viral moment or a TikTok moment, or adding in a

654
00:28:15,080 --> 00:28:17,879
Speaker 1: lift that maybe isn't supposed to be there. If you

655
00:28:18,000 --> 00:28:20,760
Speaker 1: were judging, how would you feel about that? Would you

656
00:28:20,840 --> 00:28:23,119
Speaker 1: deduct for those things? Do you like it?

657
00:28:23,119 --> 00:28:25,320
Speaker 2: It's an interesting question, and I think it's for me.

658
00:28:25,400 --> 00:28:28,160
Speaker 3: It's evolved over the seasons, you know, because obviously when

659
00:28:28,200 --> 00:28:30,920
Speaker 3: the show started we were not in the social media

660
00:28:30,960 --> 00:28:35,320
Speaker 3: place that we are now. Correct, And ballroom dance and

661
00:28:35,440 --> 00:28:39,560
Speaker 3: Latin dance in its nature is insular and so much

662
00:28:39,600 --> 00:28:41,480
Speaker 3: about the partnering, and so much about the frame, and

663
00:28:41,520 --> 00:28:43,080
Speaker 3: so much about respecting the tradition.

664
00:28:43,440 --> 00:28:43,680
Speaker 1: Yep.

665
00:28:44,000 --> 00:28:48,240
Speaker 3: And I think, like anything, if you don't respect tradition

666
00:28:48,400 --> 00:28:50,760
Speaker 3: but allow it to grow and evolve, it will die

667
00:28:50,760 --> 00:28:53,880
Speaker 3: of death because no one's going to care that you have.

668
00:28:54,440 --> 00:28:56,920
Speaker 3: Like my dad when he watches the show, doesn't know

669
00:28:56,960 --> 00:29:00,000
Speaker 3: that you're in a perfect frame, but he might appreciate

670
00:29:00,280 --> 00:29:02,760
Speaker 3: that a judge said you had really good frame in

671
00:29:02,880 --> 00:29:05,400
Speaker 3: that dance. But then he would like the moment where

672
00:29:05,400 --> 00:29:07,120
Speaker 3: you broke frame and was like, oh, I remember that

673
00:29:07,200 --> 00:29:08,600
Speaker 3: cute thing where you know.

674
00:29:08,840 --> 00:29:11,680
Speaker 2: So I I think you have to evolve.

675
00:29:11,960 --> 00:29:14,000
Speaker 3: And again, you know, I don't think you should like

676
00:29:14,440 --> 00:29:16,880
Speaker 3: pay it shouldn't be disrespectful to the art form.

677
00:29:17,360 --> 00:29:18,880
Speaker 2: But I think these pros do such a.

678
00:29:18,800 --> 00:29:22,400
Speaker 3: Good job of really teaching their celebrity how to do

679
00:29:22,440 --> 00:29:23,840
Speaker 3: this thing that they know and love. These guys have

680
00:29:23,840 --> 00:29:25,960
Speaker 3: trained their whole lives to do it. Yeah, Also they

681
00:29:25,960 --> 00:29:28,200
Speaker 3: want to break frame sometimes because they're bored.

682
00:29:28,240 --> 00:29:29,680
Speaker 2: They've done this same think for it.

683
00:29:29,760 --> 00:29:31,520
Speaker 1: They've done it, and they want to they and they

684
00:29:31,600 --> 00:29:34,360
Speaker 1: want to modernize it and help us try something new

685
00:29:34,400 --> 00:29:37,240
Speaker 1: and get a creative input in there that maybe wouldn't

686
00:29:37,240 --> 00:29:37,800
Speaker 1: normally be in.

687
00:29:37,800 --> 00:29:41,080
Speaker 3: Their creators anders. As we were saying, like they and

688
00:29:41,120 --> 00:29:43,280
Speaker 3: they want the moment too. They want to make you

689
00:29:43,320 --> 00:29:45,320
Speaker 3: stick out as well that you know, if you're just

690
00:29:45,800 --> 00:29:47,560
Speaker 3: I feel for them sometimes because if some of them

691
00:29:47,600 --> 00:29:48,960
Speaker 3: just play by the rules, you know, and like you

692
00:29:49,000 --> 00:29:51,000
Speaker 3: do a proper tangle or you do a proper chatcha,

693
00:29:51,040 --> 00:29:52,680
Speaker 3: and then all of a sudden, this person over here

694
00:29:53,040 --> 00:29:57,840
Speaker 3: right did ninety seven percent of a proper whatever, but

695
00:29:57,880 --> 00:30:00,760
Speaker 3: then had the one moment that everybody remembered. So they

696
00:30:00,800 --> 00:30:02,880
Speaker 3: also have to play the game when they're creating, right,

697
00:30:02,920 --> 00:30:03,640
Speaker 3: and I respect it.

698
00:30:03,680 --> 00:30:05,520
Speaker 2: I say, go for it, as long as you're not disrespectful.

699
00:30:05,720 --> 00:30:08,640
Speaker 1: Yeah, exactly, even if it means occasionally getting a note.

700
00:30:08,720 --> 00:30:09,560
Speaker 2: Sure, Yeah, I mean, I.

701
00:30:09,560 --> 00:30:12,160
Speaker 3: Guess there's also rules like when I've judged, like we

702
00:30:12,240 --> 00:30:15,080
Speaker 3: are very clear about what the rules are, and so yes,

703
00:30:15,120 --> 00:30:16,880
Speaker 3: if you have to deduct, then you should deduct. I

704
00:30:16,920 --> 00:30:18,760
Speaker 3: mean that's also a thing, is like you can't deduct

705
00:30:18,760 --> 00:30:20,400
Speaker 3: for one and then not for the other. I mean,

706
00:30:20,440 --> 00:30:23,400
Speaker 3: as a judge, you have to make sure that you're even, yeah,

707
00:30:23,400 --> 00:30:25,560
Speaker 3: and make sure that you don't you're not playing favorites

708
00:30:25,600 --> 00:30:26,880
Speaker 3: in any sort of a way, Like you do have

709
00:30:26,920 --> 00:30:28,880
Speaker 3: to make sure you're on biased in that way. But

710
00:30:29,640 --> 00:30:31,320
Speaker 3: you know, as I go for it, and then you know,

711
00:30:31,920 --> 00:30:33,720
Speaker 3: like you know, I have to deduct you on this moment.

712
00:30:33,800 --> 00:30:35,400
Speaker 3: But guess what, it was a great moment.

713
00:30:35,240 --> 00:30:37,240
Speaker 1: Right exactly, you're to get a little bit of a

714
00:30:37,280 --> 00:30:39,480
Speaker 1: lower score, but I did enjoy it. Yeah, yeah, that's

715
00:30:39,520 --> 00:30:41,640
Speaker 1: really smart. That's a good point that, like you guys

716
00:30:41,640 --> 00:30:43,800
Speaker 1: have a list of things, yes, and as long as

717
00:30:43,800 --> 00:30:47,440
Speaker 1: you're following the rules, it's still okay to do it,

718
00:30:47,480 --> 00:30:49,160
Speaker 1: as long as even the pros No, all right, we

719
00:30:49,240 --> 00:30:50,680
Speaker 1: might get a little bit of a deduction, but it's

720
00:30:50,680 --> 00:30:51,320
Speaker 1: worth it.

721
00:30:51,200 --> 00:30:51,840
Speaker 3: And isn't it.

722
00:30:51,880 --> 00:30:53,120
Speaker 2: Sometimes in life you should break a.

723
00:30:53,120 --> 00:30:57,240
Speaker 1: Rule exactly exactly. I mean, listen, I was a major

724
00:30:57,320 --> 00:31:01,120
Speaker 1: rule follower up until you type it. That's what we're

725
00:31:01,160 --> 00:31:02,800
Speaker 1: best at. And then you get to a certain point

726
00:31:02,880 --> 00:31:04,440
Speaker 1: you go, you know what, I think it's a little

727
00:31:04,480 --> 00:31:08,440
Speaker 1: more joyful to occasionally break a rule and it's okay exactly,

728
00:31:08,520 --> 00:31:11,640
Speaker 1: it's exactly certain rules. What do you think is the

729
00:31:11,720 --> 00:31:14,240
Speaker 1: number one thing I need to focus on the season?

730
00:31:14,280 --> 00:31:17,080
Speaker 1: After having seen my two dances, I would.

731
00:31:16,800 --> 00:31:21,120
Speaker 3: Say, continue to push yourself to go bigger, okay, and bolder,

732
00:31:21,560 --> 00:31:23,920
Speaker 3: be more bold, because now you're going into week three

733
00:31:23,960 --> 00:31:24,520
Speaker 3: and week four.

734
00:31:24,920 --> 00:31:27,040
Speaker 2: Hopefully hope you're good, hope very far.

735
00:31:29,080 --> 00:31:32,320
Speaker 3: People start to separate away from the pack right in

736
00:31:32,360 --> 00:31:34,000
Speaker 3: the first couple of weeks. Everyone's kind of like they're

737
00:31:34,040 --> 00:31:35,880
Speaker 3: just getting their feet wet. Then like some people might

738
00:31:35,920 --> 00:31:37,320
Speaker 3: have like, oh wow, that was a great dance or

739
00:31:37,360 --> 00:31:39,960
Speaker 3: a middle dance or like so good. But starting in

740
00:31:39,960 --> 00:31:42,080
Speaker 3: week three and week four, you have to make bigger choices.

741
00:31:42,480 --> 00:31:46,240
Speaker 3: And that's like in your performance, you need to show

742
00:31:46,320 --> 00:31:50,760
Speaker 3: more vulnerability, more motion, more character, right because they're getting

743
00:31:50,800 --> 00:31:52,080
Speaker 3: to know you now, So now they know you from

744
00:31:52,080 --> 00:31:54,080
Speaker 3: your packages. They know that you're a nice person, they

745
00:31:54,080 --> 00:31:55,800
Speaker 3: know that you're talented, and you come from bla blah

746
00:31:55,840 --> 00:31:56,200
Speaker 3: blah blah.

747
00:31:56,200 --> 00:31:57,200
Speaker 2: You know, it's like they know that now.

748
00:31:57,560 --> 00:32:00,440
Speaker 3: But now you have to start making bolder, bigger voices,

749
00:32:00,600 --> 00:32:03,200
Speaker 3: not only in your movement, so like more highs and

750
00:32:03,240 --> 00:32:06,200
Speaker 3: lows in your dynamics, more plea, more straight legs, more

751
00:32:06,280 --> 00:32:09,280
Speaker 3: sharp whatever the focus is. Then also in just the

752
00:32:09,320 --> 00:32:12,040
Speaker 3: like performance of it, what character are you playing? Can

753
00:32:12,080 --> 00:32:14,400
Speaker 3: you take us? Can you transport us for the minute

754
00:32:14,440 --> 00:32:17,320
Speaker 3: and a half and the number into whatever world you're

755
00:32:17,320 --> 00:32:18,320
Speaker 3: wanting us to go into.

756
00:32:19,560 --> 00:32:20,880
Speaker 1: Such good advice, I mean, that's.

757
00:32:20,720 --> 00:32:22,400
Speaker 3: What I would say. Just go big, I go home,

758
00:32:22,480 --> 00:32:24,120
Speaker 3: you know what I mean, get in there.

759
00:32:24,240 --> 00:32:27,760
Speaker 1: And it's funny because so much of obviously having been

760
00:32:27,760 --> 00:32:31,480
Speaker 1: an actor, so much of my acting experience has helped me, yes,

761
00:32:31,520 --> 00:32:34,400
Speaker 1: but also so much of it is hurting me because

762
00:32:34,600 --> 00:32:36,680
Speaker 1: actors like to be a little more settle.

763
00:32:36,880 --> 00:32:38,920
Speaker 2: Yes, and then no, no, it doesn't work in ballrooms.

764
00:32:38,960 --> 00:32:42,600
Speaker 1: What don't you be subtle on the ballroom?

765
00:32:42,800 --> 00:32:44,000
Speaker 2: For crazy?

766
00:32:44,320 --> 00:32:47,000
Speaker 1: Yes, it's insane. And sometimes I'll be like, I'll watch

767
00:32:47,000 --> 00:32:48,480
Speaker 1: myself in the mirror and I'm like, I look like

768
00:32:48,520 --> 00:32:50,600
Speaker 1: a maniac. And then I watched them dance like the

769
00:32:50,640 --> 00:32:52,800
Speaker 1: pros dance, and I'm like, oh, oh, no, I don't

770
00:32:52,800 --> 00:32:55,040
Speaker 1: look like a maniac. They look like maniac. That's what

771
00:32:55,080 --> 00:32:55,920
Speaker 1: I need to be doing.

772
00:32:56,080 --> 00:32:59,720
Speaker 3: Yes, So there's something very like I remember when I

773
00:32:59,720 --> 00:33:02,320
Speaker 3: start started the show and I watched them do their thing,

774
00:33:02,560 --> 00:33:04,400
Speaker 3: you know, like when you watch them dance and do

775
00:33:04,480 --> 00:33:09,080
Speaker 3: their thing, they're like these crazy peacock unicorn It's like,

776
00:33:09,200 --> 00:33:11,480
Speaker 3: who are these people? And like if you took them

777
00:33:11,480 --> 00:33:13,600
Speaker 3: out of the context of these like cameras and lights

778
00:33:13,640 --> 00:33:14,440
Speaker 3: in ballroom.

779
00:33:14,080 --> 00:33:15,680
Speaker 2: You'd be like, you're nuts, Like I don't know what

780
00:33:15,720 --> 00:33:16,560
Speaker 2: you're doing out there.

781
00:33:16,920 --> 00:33:19,120
Speaker 3: But it works, and that is part of the kind

782
00:33:19,120 --> 00:33:22,680
Speaker 3: of like presentation of the art form. And so as

783
00:33:22,680 --> 00:33:25,320
Speaker 3: someone who's now who's new in that world.

784
00:33:25,280 --> 00:33:27,080
Speaker 2: You have to like give into it. You have to

785
00:33:27,080 --> 00:33:28,400
Speaker 2: be like, Okay, I gotta go for it.

786
00:33:28,440 --> 00:33:30,040
Speaker 3: And the hard part is you still have to find

787
00:33:30,080 --> 00:33:32,200
Speaker 3: an authenticity inside that. You can't just have it be

788
00:33:32,440 --> 00:33:35,240
Speaker 3: an outside thing. It does have to come from inside. Yeah,

789
00:33:35,280 --> 00:33:36,840
Speaker 3: which is weird because you're not used to that.

790
00:33:37,080 --> 00:33:39,280
Speaker 1: No, but but guess the best analogy I could think

791
00:33:39,320 --> 00:33:41,880
Speaker 1: of is like the way theater stage makeup is so

792
00:33:42,040 --> 00:33:45,000
Speaker 1: pronounced in when you are when you're like, wow, who

793
00:33:45,040 --> 00:33:48,080
Speaker 1: did your makeup? And then when they're on stage they

794
00:33:48,080 --> 00:33:49,840
Speaker 1: look totally normal to the people in the back row,

795
00:33:50,000 --> 00:33:52,800
Speaker 1: totally you know, in the audience. It's very similar. The

796
00:33:52,880 --> 00:33:57,880
Speaker 1: camera is diluting and the space is diluting a lot

797
00:33:57,880 --> 00:33:59,880
Speaker 1: of what you're doing, So it has to be go

798
00:34:00,000 --> 00:34:04,000
Speaker 1: big or go home, but also from a truly authentic place.

799
00:34:04,680 --> 00:34:06,960
Speaker 3: To posh ever say to you, I'm sure he probably has,

800
00:34:07,000 --> 00:34:09,719
Speaker 3: but like, and you've noticed that, like camera really takes

801
00:34:09,719 --> 00:34:11,960
Speaker 3: away a good twenty to thirty percent of what you're doing.

802
00:34:12,440 --> 00:34:15,839
Speaker 3: It's like the beautiful three dimensional thing that we're all

803
00:34:15,840 --> 00:34:18,720
Speaker 3: creating goes into this two dimensional space and it looks

804
00:34:18,719 --> 00:34:19,960
Speaker 3: like you're not even trying, like.

805
00:34:20,200 --> 00:34:22,040
Speaker 2: Nothing, and you're like, I am down.

806
00:34:22,280 --> 00:34:25,200
Speaker 1: You felt what I felt on me on the outside.

807
00:34:25,200 --> 00:34:26,840
Speaker 1: Like we talked about that with the chat chap. He

808
00:34:26,960 --> 00:34:29,840
Speaker 1: was like, inside, by the time our minute is done,

809
00:34:29,920 --> 00:34:33,239
Speaker 1: we feel like we barely made it on the outside. Yeah,

810
00:34:33,560 --> 00:34:35,239
Speaker 1: people are saying you need to speed that up. That

811
00:34:35,280 --> 00:34:37,719
Speaker 1: looks a little slow. So yeah, what it feels like

812
00:34:37,800 --> 00:34:40,440
Speaker 1: on the inside versus what it looks like, especially on camera,

813
00:34:40,880 --> 00:34:41,680
Speaker 1: totally different beasts.

814
00:34:41,680 --> 00:34:42,359
Speaker 2: That's what's gonna change.

815
00:34:42,400 --> 00:34:44,520
Speaker 3: You're gonna start to see your body's gonna start making

816
00:34:44,560 --> 00:34:48,000
Speaker 3: bigger choices. Yeah, you'll you'll start dancing bigger. Pasha'll start

817
00:34:48,000 --> 00:34:50,960
Speaker 3: going like, oh wow, you're okay. He'll start dancing bigger,

818
00:34:51,200 --> 00:34:53,200
Speaker 3: and then the whole thing expands. And if you don't

819
00:34:53,200 --> 00:34:55,239
Speaker 3: start doing that now, like you will find that you're

820
00:34:55,239 --> 00:34:57,279
Speaker 3: not gonna go away from the pack. It'll just kind

821
00:34:57,280 --> 00:34:59,960
Speaker 3: of like well, just yeah, and you'll be fine, I'm sure,

822
00:35:00,400 --> 00:35:02,239
Speaker 3: but it's not anything spectacular.

823
00:35:02,920 --> 00:35:05,439
Speaker 1: It's going to go for the people that separate themselves

824
00:35:05,520 --> 00:35:07,640
Speaker 1: from the pack. Of course, great advice. I love that,

825
00:35:07,719 --> 00:35:11,040
Speaker 1: Thank you so much. Do you think there's a common

826
00:35:11,120 --> 00:35:13,880
Speaker 1: thread if you look back on all the previous mirror

827
00:35:13,880 --> 00:35:16,239
Speaker 1: Ball champions, would you say there's something that all of

828
00:35:16,280 --> 00:35:17,240
Speaker 1: them have in common.

829
00:35:18,640 --> 00:35:20,880
Speaker 2: Wow, that's a really good question.

830
00:35:22,239 --> 00:35:23,080
Speaker 3: Huh.

831
00:35:23,440 --> 00:35:25,439
Speaker 2: I don't know. I don't think I've ever thought about that.

832
00:35:25,560 --> 00:35:29,960
Speaker 3: I mean, charisma or they've had a lot of different Okay,

833
00:35:30,040 --> 00:35:32,319
Speaker 3: you know what, I think they'll have in common maybe

834
00:35:32,360 --> 00:35:35,080
Speaker 3: except for my twop or something. But you know, sometimes

835
00:35:35,080 --> 00:35:38,680
Speaker 3: they slip in there. But I think the people that

836
00:35:38,800 --> 00:35:41,479
Speaker 3: win the mirror Ball Trophy are everything we've been talking about,

837
00:35:41,520 --> 00:35:45,160
Speaker 3: like the most authentic in the process, Like they're not

838
00:35:45,320 --> 00:35:49,520
Speaker 3: trying to pre produce their own packages, their own ideas

839
00:35:49,520 --> 00:35:53,040
Speaker 3: about how they're being seen. They give in to the

840
00:35:53,080 --> 00:35:55,840
Speaker 3: process and they allow the audience to see them fail.

841
00:35:56,160 --> 00:36:00,000
Speaker 3: They allow them the audience to see them succeed. They

842
00:36:00,160 --> 00:36:03,320
Speaker 3: they are in the moment completely, which is very vulnerable

843
00:36:03,360 --> 00:36:05,600
Speaker 3: and very scary of what she talked about. But I

844
00:36:05,640 --> 00:36:08,000
Speaker 3: think those are the ones that really get to the

845
00:36:08,000 --> 00:36:10,640
Speaker 3: top because it's like you see, I think the audience

846
00:36:10,680 --> 00:36:13,040
Speaker 3: sees a bit of themselves in whoever that person is,

847
00:36:13,120 --> 00:36:14,960
Speaker 3: or they want to see a bit of themselves in

848
00:36:14,960 --> 00:36:16,600
Speaker 3: that person, like they want to be like, oh, that's

849
00:36:16,600 --> 00:36:18,319
Speaker 3: like my sister, or that's like my cousin, or like

850
00:36:18,480 --> 00:36:19,799
Speaker 3: I want to get in there. I want to dance

851
00:36:19,840 --> 00:36:22,120
Speaker 3: with pashure. I want to whatever you know so in

852
00:36:22,239 --> 00:36:24,080
Speaker 3: order to do that, because I also think you feel

853
00:36:24,080 --> 00:36:26,239
Speaker 3: the same. It's like if you're very manicured and you're

854
00:36:26,360 --> 00:36:29,880
Speaker 3: very produced in your own way of like presenting yourself. Yep,

855
00:36:30,440 --> 00:36:32,240
Speaker 3: audience somehow senses it totally.

856
00:36:32,520 --> 00:36:35,640
Speaker 1: You can smell authenticity from a mile away, the same

857
00:36:35,640 --> 00:36:38,680
Speaker 1: way you can smell chemistry. Yes, you know that you can't.

858
00:36:38,760 --> 00:36:43,239
Speaker 1: You can't fake chemistry. You can try, but people can

859
00:36:43,280 --> 00:36:45,640
Speaker 1: watch and they go, I don't think those two like

860
00:36:45,680 --> 00:36:46,080
Speaker 1: each other.

861
00:36:46,239 --> 00:36:49,600
Speaker 2: Yes, you're exactly right, you can if they can feel

862
00:36:49,640 --> 00:36:50,000
Speaker 2: the thing.

863
00:36:50,080 --> 00:36:51,799
Speaker 3: I don't know what it is. It's like unsaid thing

864
00:36:51,840 --> 00:36:52,920
Speaker 3: that they can feel totally.

865
00:36:52,960 --> 00:36:55,480
Speaker 1: And when when someone is trying to like even you

866
00:36:56,000 --> 00:37:00,200
Speaker 1: talking about pre producing their own packages, that is something

867
00:37:00,239 --> 00:37:03,480
Speaker 1: that's like, yeah, you can feel that from certain people.

868
00:37:03,520 --> 00:37:08,080
Speaker 1: They're like very much manicured images. Yes, what is your

869
00:37:08,200 --> 00:37:11,320
Speaker 1: favorite dance that you have choreographed for Dancing with the Stars?

870
00:37:11,520 --> 00:37:20,920
Speaker 3: Oh my gosh, wow. Probably probably when we did the

871
00:37:20,960 --> 00:37:25,759
Speaker 3: one shot drone at Griffith Observatory and it was an

872
00:37:25,800 --> 00:37:28,800
Speaker 3: opening number that we did and I can't remember what season.

873
00:37:28,840 --> 00:37:31,560
Speaker 3: I mean, it was like Derek was still dancing, Max

874
00:37:31,719 --> 00:37:34,960
Speaker 3: was there, Val was there, Jenna was there, Cheryl like.

875
00:37:35,160 --> 00:37:37,719
Speaker 3: It was kind of like a bit of the Og Crew,

876
00:37:37,840 --> 00:37:42,359
Speaker 3: like OG two point zero and we yeah. Rob Wade

877
00:37:42,400 --> 00:37:44,960
Speaker 3: was actually show running at the time, and he was like,

878
00:37:45,200 --> 00:37:47,400
Speaker 3: I think we should do like this one shot drone

879
00:37:47,440 --> 00:37:50,239
Speaker 3: at Griffith Observatory and I was like, you're nuts.

880
00:37:50,360 --> 00:37:51,440
Speaker 2: I'm in let's do it.

881
00:37:51,520 --> 00:37:53,239
Speaker 1: Yeah, You're insane. I love it.

882
00:37:53,320 --> 00:37:55,360
Speaker 3: Yes, And at Magic Hour, of course, you know, so

883
00:37:55,560 --> 00:37:57,279
Speaker 3: it's like you have like three seconds to get it.

884
00:37:57,200 --> 00:37:59,920
Speaker 1: Exactly and there's no there's no take too when you're

885
00:38:00,200 --> 00:38:00,960
Speaker 1: during Magic Now.

886
00:38:00,880 --> 00:38:03,000
Speaker 3: And there's no coverage. We shot no coverage. It was

887
00:38:03,040 --> 00:38:06,520
Speaker 3: the thing, and it was one of those like I

888
00:38:06,560 --> 00:38:08,799
Speaker 3: think you can appreciate this because you you know, you

889
00:38:08,880 --> 00:38:11,520
Speaker 3: understand directing, you love directing and producing. It's like it

890
00:38:11,520 --> 00:38:13,960
Speaker 3: was one of those like all the departments came together,

891
00:38:14,520 --> 00:38:17,120
Speaker 3: we all to make the thing, and then to see

892
00:38:17,120 --> 00:38:19,319
Speaker 3: how it turned out was like that doesn't always happen.

893
00:38:19,320 --> 00:38:21,120
Speaker 3: It's like the making and then you're like tono, so

894
00:38:21,160 --> 00:38:22,680
Speaker 3: good or like that turned out and it was terrible

895
00:38:22,680 --> 00:38:25,640
Speaker 3: making it. It was a perfect I was so proud

896
00:38:25,680 --> 00:38:29,560
Speaker 3: of everybody and it was a beautiful piece of television.

897
00:38:29,560 --> 00:38:31,759
Speaker 3: Making Like I just think, like we don't get to

898
00:38:31,760 --> 00:38:33,719
Speaker 3: do it all the time, you know, these days, just

899
00:38:33,760 --> 00:38:34,799
Speaker 3: because of budgets and things.

900
00:38:34,800 --> 00:38:36,200
Speaker 2: But it was a really fun number.

901
00:38:36,320 --> 00:38:39,479
Speaker 1: Oh that's so great. Yeah, oh I love that. It's funny.

902
00:38:39,520 --> 00:38:42,720
Speaker 1: When I asked Pasha when I interviewed him for the podcast,

903
00:38:42,760 --> 00:38:45,840
Speaker 1: I asked him about what felt so special about the

904
00:38:45,920 --> 00:38:48,360
Speaker 1: night that he and Arianna got their their three tens,

905
00:38:48,600 --> 00:38:52,160
Speaker 1: his first perfect thirty, and he said something very similar,

906
00:38:52,200 --> 00:38:55,359
Speaker 1: which was like, it wasn't even about the scores being

907
00:38:55,400 --> 00:38:58,640
Speaker 1: the thing. It was the fact that every moment of

908
00:38:58,680 --> 00:39:01,680
Speaker 1: it had felt right kind of from the beginning, like

909
00:39:02,200 --> 00:39:05,319
Speaker 1: the rehearsal of it, and then the vibe of the night,

910
00:39:05,480 --> 00:39:08,239
Speaker 1: the focused of they like the energy just when all

911
00:39:08,320 --> 00:39:12,959
Speaker 1: those little pieces come together and you're trying to overachieve,

912
00:39:13,080 --> 00:39:15,680
Speaker 1: like you're doing a thing that's like a crazy thing,

913
00:39:16,040 --> 00:39:18,920
Speaker 1: and then it all goes well. There is something so

914
00:39:19,000 --> 00:39:22,920
Speaker 1: satisfying about that that like it's it's one of those

915
00:39:23,000 --> 00:39:24,560
Speaker 1: highs you can live on for a long time.

916
00:39:24,600 --> 00:39:27,840
Speaker 3: However, I'm live TV, like that's also the thing, like

917
00:39:28,200 --> 00:39:30,440
Speaker 3: I'm pre shot. This is not That's the thing I

918
00:39:30,440 --> 00:39:32,600
Speaker 3: think people forget, you know, It's like you guys are

919
00:39:32,719 --> 00:39:35,040
Speaker 3: human beings on a live television show.

920
00:39:35,120 --> 00:39:37,239
Speaker 1: You know, thanks for reminding me. Forgot about that part

921
00:39:37,520 --> 00:39:39,319
Speaker 1: because it's not live on the West Coast, so I

922
00:39:39,360 --> 00:39:42,040
Speaker 1: forget that. For some people, it very much.

923
00:39:41,920 --> 00:39:45,200
Speaker 3: Is crazy though, like it, I don't know. I just

924
00:39:45,280 --> 00:39:46,600
Speaker 3: every time I'm at the show, I'm just.

925
00:39:46,560 --> 00:39:47,400
Speaker 2: Like little nuts.

926
00:39:47,440 --> 00:39:50,440
Speaker 3: I know, little they're knowing, Yes, this is not robots,

927
00:39:50,719 --> 00:39:53,440
Speaker 3: this is not like, this is real people doing real

928
00:39:53,480 --> 00:39:54,840
Speaker 3: things now I know.

929
00:39:55,360 --> 00:39:56,760
Speaker 1: Also, there's a lot of confetti.

930
00:39:57,120 --> 00:39:57,839
Speaker 3: Oh my god.

931
00:39:57,960 --> 00:39:59,440
Speaker 2: Yeah, they love a confetti.

932
00:39:59,520 --> 00:40:02,680
Speaker 1: Confetti canon. Boy, there was so much confetti at this

933
00:40:02,800 --> 00:40:05,320
Speaker 1: last one. And Pasha and I both like zero pieces

934
00:40:05,360 --> 00:40:07,560
Speaker 1: of confetti on the floor because I do not need

935
00:40:07,640 --> 00:40:08,600
Speaker 1: anything to slip on.

936
00:40:08,760 --> 00:40:10,240
Speaker 2: No, no, no, So if.

937
00:40:10,120 --> 00:40:12,319
Speaker 1: We see a single piece of confetti when we end

938
00:40:12,360 --> 00:40:14,319
Speaker 1: out there, we're like, clean that up.

939
00:40:14,560 --> 00:40:15,600
Speaker 3: Now, we're picking it up, picking up.

940
00:40:15,600 --> 00:40:17,840
Speaker 1: We're literally on the floor picking up pieces of confetti.

941
00:40:19,400 --> 00:40:22,319
Speaker 1: What do you think is the hardest dance I will

942
00:40:22,320 --> 00:40:23,040
Speaker 1: have to do this year?

943
00:40:24,840 --> 00:40:25,400
Speaker 2: Probably?

944
00:40:27,440 --> 00:40:33,000
Speaker 3: I think samba okay can be really hard yep, And

945
00:40:33,080 --> 00:40:36,400
Speaker 3: I think rumba can be really hard okay. I think

946
00:40:36,719 --> 00:40:40,600
Speaker 3: because they're they're both highly technical, Like I find when

947
00:40:40,640 --> 00:40:43,960
Speaker 3: i'm watching when I'm watching bodies do those two styles

948
00:40:44,000 --> 00:40:48,000
Speaker 3: that have never done them, they seem to me to

949
00:40:48,040 --> 00:40:50,319
Speaker 3: be the hardest ones to like really like you can't

950
00:40:50,320 --> 00:40:53,480
Speaker 3: really fake them, if that makes sense. Where I think tango,

951
00:40:53,560 --> 00:40:55,680
Speaker 3: it's like it's a good one to learn because it's

952
00:40:55,760 --> 00:40:58,320
Speaker 3: like the idea of like having to hold your body

953
00:40:58,400 --> 00:41:00,440
Speaker 3: in a front that's kind of easier for people, but

954
00:41:00,920 --> 00:41:03,640
Speaker 3: not that it's easy. But yeah, cha chaw, you can

955
00:41:03,719 --> 00:41:05,120
Speaker 3: kind of get away with some things.

956
00:41:06,160 --> 00:41:07,200
Speaker 1: It's so fast correct.

957
00:41:07,360 --> 00:41:09,640
Speaker 3: Jive is hard with kicks if you can understand the kicks,

958
00:41:09,680 --> 00:41:12,160
Speaker 3: but I think the bounce and the kind of like

959
00:41:12,360 --> 00:41:16,200
Speaker 3: feel of samba is hard, okay, And rumba is you know,

960
00:41:16,280 --> 00:41:19,840
Speaker 3: it's like it's all about my chemistry and the like vitation,

961
00:41:20,239 --> 00:41:22,040
Speaker 3: and you know that can be hard. So you have

962
00:41:22,080 --> 00:41:24,560
Speaker 3: to really make sure that you're like, Okay, I'm gonna

963
00:41:24,560 --> 00:41:26,239
Speaker 3: be awesome this week. If you have this, I need

964
00:41:26,280 --> 00:41:28,080
Speaker 3: to let go. Okay, I need to let live.

965
00:41:28,080 --> 00:41:30,759
Speaker 1: Right right right? Yeah, okay, good to know. I think

966
00:41:31,040 --> 00:41:33,560
Speaker 1: Pasha's talked to me about both of those things really hard.

967
00:41:33,719 --> 00:41:34,719
Speaker 3: Yeah, okay. Good.

968
00:41:34,840 --> 00:41:37,399
Speaker 1: When we first started talking about it and we were

969
00:41:37,400 --> 00:41:39,399
Speaker 1: going through like what what do we want to try

970
00:41:39,400 --> 00:41:41,279
Speaker 1: to do this year, and he listed out all the

971
00:41:41,320 --> 00:41:44,400
Speaker 1: different styles of dance and then he was like, you know,

972
00:41:44,480 --> 00:41:46,600
Speaker 1: ones we may want to save for later in the season.

973
00:41:47,920 --> 00:41:51,759
Speaker 1: Are these because they require some more vulnerability, it can

974
00:41:51,800 --> 00:41:52,760
Speaker 1: be a little more difficult.

975
00:41:52,760 --> 00:41:54,640
Speaker 3: So samba can be like super fun. So I think

976
00:41:54,640 --> 00:41:58,000
Speaker 3: everyone just goes like, oh, it's bouncy and lah blah blah. Yeah,

977
00:41:58,040 --> 00:41:59,680
Speaker 3: but to actually get in there and do it right,

978
00:42:00,560 --> 00:42:02,080
Speaker 3: that's hard. Yeah, so you gotta get in there.

979
00:42:03,000 --> 00:42:05,400
Speaker 1: As a viewer of Dancing with the Stars, do you

980
00:42:05,440 --> 00:42:09,200
Speaker 1: find yourself gravitating toward who you think did the best

981
00:42:09,400 --> 00:42:12,800
Speaker 1: dance or to whatever maybe was your favorite dance.

982
00:42:12,960 --> 00:42:17,560
Speaker 3: Oh that's a hard one too for me because I

983
00:42:17,600 --> 00:42:20,000
Speaker 3: feel like I'm not like the well, okay, because I

984
00:42:20,080 --> 00:42:23,200
Speaker 3: know a lot about dance, so I you know, sometimes

985
00:42:23,320 --> 00:42:26,200
Speaker 3: I'm actually more drawn to the person that I feel

986
00:42:26,200 --> 00:42:28,959
Speaker 3: like was trying really hard because I know how hard

987
00:42:29,000 --> 00:42:32,880
Speaker 3: it is to get somebody to do what we're asking

988
00:42:32,880 --> 00:42:36,480
Speaker 3: these people to do. But I will say I'm definitely

989
00:42:36,520 --> 00:42:38,799
Speaker 3: a sucker for a great dance, likeay, something is like

990
00:42:38,960 --> 00:42:42,919
Speaker 3: they finish that button and you're like, yeah, like there

991
00:42:43,000 --> 00:42:45,840
Speaker 3: is nothing like that, you know. But I also just

992
00:42:46,000 --> 00:42:49,880
Speaker 3: love to see people try and do and like be

993
00:42:50,000 --> 00:42:52,160
Speaker 3: in the moment. I can't stand it when people are

994
00:42:52,200 --> 00:42:53,880
Speaker 3: mess when it looks like, oh, you didn't put in

995
00:42:53,880 --> 00:42:56,160
Speaker 3: the work right, you didn't try like you didn't try yeah,

996
00:42:56,280 --> 00:42:58,839
Speaker 3: or you like you should have done fourteen more hours

997
00:42:58,840 --> 00:42:59,719
Speaker 3: of rehearsal and you didn't.

998
00:42:59,719 --> 00:43:01,120
Speaker 2: You thought you had it and you don't.

999
00:43:00,960 --> 00:43:03,239
Speaker 1: Got it right right right? You know that makes sense

1000
00:43:03,320 --> 00:43:06,439
Speaker 1: again that type we see it and we go, Oh,

1001
00:43:06,680 --> 00:43:08,000
Speaker 1: I see you didn't care.

1002
00:43:07,920 --> 00:43:08,440
Speaker 3: At all, did you?

1003
00:43:09,600 --> 00:43:11,200
Speaker 1: I see you, I see you. I know what happened

1004
00:43:11,239 --> 00:43:13,640
Speaker 1: here now because of your work on the Errors tour.

1005
00:43:13,840 --> 00:43:15,920
Speaker 1: I don't think it would take a rocket scientist to

1006
00:43:15,920 --> 00:43:18,640
Speaker 1: figure out that maybe Yon coming to Dancing with the

1007
00:43:18,680 --> 00:43:20,399
Speaker 1: Stars had something to do with you.

1008
00:43:21,280 --> 00:43:25,919
Speaker 3: I cannot. So you know, I love Yon very much

1009
00:43:25,960 --> 00:43:28,200
Speaker 3: and I've known him now after working with him this

1010
00:43:28,280 --> 00:43:31,319
Speaker 3: last couple of years with the Eras tour, and you know,

1011
00:43:31,440 --> 00:43:34,040
Speaker 3: things were coming into play, and you know, I just

1012
00:43:34,160 --> 00:43:36,440
Speaker 3: I think the world of him, and I'm very excited

1013
00:43:36,440 --> 00:43:39,520
Speaker 3: for him and this opportunity actually because I'm like, it's

1014
00:43:39,520 --> 00:43:42,200
Speaker 3: great for the show, it's great for him. Ultimately, he

1015
00:43:42,239 --> 00:43:43,919
Speaker 3: has to get out there and do the thing. Yep.

1016
00:43:44,040 --> 00:43:46,319
Speaker 3: And I'm very proud of him. I mean, I don't

1017
00:43:46,320 --> 00:43:48,520
Speaker 3: know if you've ever talked to him. I mean, he's hysterical.

1018
00:43:48,760 --> 00:43:52,680
Speaker 3: I adore him, and he knows that. My only thing

1019
00:43:52,760 --> 00:43:55,240
Speaker 3: was like, please don't go we've won. Please, please don't,

1020
00:43:55,400 --> 00:43:57,279
Speaker 3: please don't do that. And so I sent him a

1021
00:43:57,280 --> 00:44:03,359
Speaker 3: message actually didn't go home week what well, congratulations.

1022
00:44:02,560 --> 00:44:03,200
Speaker 2: You made it.

1023
00:44:03,440 --> 00:44:05,680
Speaker 1: Oh my gosh, I know it was so funny. I

1024
00:44:05,719 --> 00:44:08,760
Speaker 1: asked him, trying to remember. It was after Good Morning America.

1025
00:44:08,800 --> 00:44:10,480
Speaker 1: It must have been like right around week one. And

1026
00:44:10,520 --> 00:44:13,720
Speaker 1: I said, how are you liking it? You know what's

1027
00:44:13,760 --> 00:44:18,520
Speaker 1: going on? And he said, I'm more used to being

1028
00:44:18,840 --> 00:44:23,239
Speaker 1: just a supporting a supporting character. This is where now

1029
00:44:23,320 --> 00:44:25,640
Speaker 1: I'm such a main character. He's like, it's taking some

1030
00:44:25,719 --> 00:44:26,319
Speaker 1: getting used to.

1031
00:44:26,480 --> 00:44:27,200
Speaker 2: It's really hard.

1032
00:44:27,520 --> 00:44:29,319
Speaker 3: And I even saw that on GMA. I mean he

1033
00:44:29,400 --> 00:44:32,840
Speaker 3: looked like his eyeballs were so wide the whole time.

1034
00:44:33,200 --> 00:44:34,920
Speaker 3: And I kept telling him, I'm like, you know, that's

1035
00:44:34,920 --> 00:44:35,960
Speaker 3: gonna be a lot for you. I just want to

1036
00:44:36,040 --> 00:44:38,080
Speaker 3: let you know, because it is you get thrust into

1037
00:44:38,120 --> 00:44:40,959
Speaker 3: the spotlight. Yeah, And it's true. He's used to being

1038
00:44:41,000 --> 00:44:42,759
Speaker 3: the supporting mac to somebody who.

1039
00:44:42,760 --> 00:44:46,040
Speaker 1: Is exactly a megastar. Yeah, yeah, but he's so good.

1040
00:44:46,400 --> 00:44:48,239
Speaker 1: Like I said to him, but you're so good at

1041
00:44:48,320 --> 00:44:51,240
Speaker 1: it when you do, when you talk, when you engage.

1042
00:44:51,280 --> 00:44:55,880
Speaker 1: He's so funny. I really I have absolutely just completely

1043
00:44:55,960 --> 00:44:59,560
Speaker 1: adored him. When you you got to judge on Dancing

1044
00:44:59,560 --> 00:45:03,759
Speaker 1: with the Star, yeah, for Taylor Swift night right, Yeah, okay, unbelievable.

1045
00:45:03,880 --> 00:45:05,680
Speaker 1: What did it feel like having to be all judgy

1046
00:45:05,760 --> 00:45:08,000
Speaker 1: and giving out numbers? It's weird.

1047
00:45:08,040 --> 00:45:09,279
Speaker 3: It was the second time I'd done it, so I

1048
00:45:09,280 --> 00:45:11,440
Speaker 3: had done one like three or four seasons before, like

1049
00:45:11,440 --> 00:45:15,359
Speaker 3: a movie night or something, and I would that first one.

1050
00:45:15,440 --> 00:45:18,080
Speaker 3: I was so nervous because I was like, these again,

1051
00:45:18,120 --> 00:45:21,040
Speaker 3: these are they're my peers. Yes, like I am in

1052
00:45:21,080 --> 00:45:24,280
Speaker 3: a leadership role with them when I choreograph, but ultimately

1053
00:45:24,400 --> 00:45:25,320
Speaker 3: they are my peers.

1054
00:45:25,320 --> 00:45:26,799
Speaker 2: They are creators, just like I am.

1055
00:45:27,120 --> 00:45:29,279
Speaker 3: So to be in the judging seat, I thought, what

1056
00:45:29,320 --> 00:45:30,799
Speaker 3: am I going to be able to bring to this

1057
00:45:30,960 --> 00:45:33,759
Speaker 3: moment that maybe some of the other judges can't, And

1058
00:45:33,800 --> 00:45:35,880
Speaker 3: it was that I am a peer and so it

1059
00:45:35,920 --> 00:45:39,640
Speaker 3: was like talking to them like I would anyone that

1060
00:45:39,840 --> 00:45:41,879
Speaker 3: like I was in the dance studio with them, yeah,

1061
00:45:41,880 --> 00:45:44,439
Speaker 3: you know, and they after that first one, and I did.

1062
00:45:44,600 --> 00:45:46,840
Speaker 3: I kind of adopted that for Taylor stuff too, or

1063
00:45:46,840 --> 00:45:49,680
Speaker 3: that Taylor night because all the pearls were like, thank

1064
00:45:49,680 --> 00:45:52,279
Speaker 3: you for your critiques, because it felt like I was

1065
00:45:52,320 --> 00:45:54,920
Speaker 3: talking to my friend about what I needed to do,

1066
00:45:55,200 --> 00:45:58,799
Speaker 3: you know. And I understand not that Bruno and Derek

1067
00:45:58,840 --> 00:46:01,479
Speaker 3: and those guys don't anymore, because they do, but I'm

1068
00:46:01,480 --> 00:46:03,520
Speaker 3: so much closer to that moment because I still I'm

1069
00:46:03,520 --> 00:46:06,160
Speaker 3: still in the room. I still choreograph as I'm doing

1070
00:46:06,200 --> 00:46:08,239
Speaker 3: an opening number in a couple of weeks, so I

1071
00:46:08,280 --> 00:46:11,279
Speaker 3: will be in that ballroom with them. So you know,

1072
00:46:11,320 --> 00:46:13,440
Speaker 3: it was I mean, it's always nerve wracking because it's

1073
00:46:13,480 --> 00:46:15,879
Speaker 3: like again live and you're like, dear God, I don't

1074
00:46:15,880 --> 00:46:17,799
Speaker 3: want to say anything stupid and I don't want to like.

1075
00:46:17,760 --> 00:46:20,200
Speaker 2: Mess up this course and the wrong thing.

1076
00:46:20,400 --> 00:46:22,600
Speaker 3: Yes, but you do have to also like take in

1077
00:46:22,640 --> 00:46:25,560
Speaker 3: the moment and realize, oh, I'm bringing something to this.

1078
00:46:25,680 --> 00:46:28,160
Speaker 3: I have expertise that I can bring. It's different than

1079
00:46:28,160 --> 00:46:31,239
Speaker 3: carry In, different than Derek, different than Bruno, and that

1080
00:46:31,280 --> 00:46:33,160
Speaker 3: makes me who I am as a judge.

1081
00:46:33,520 --> 00:46:37,400
Speaker 1: That's always uniquely qualify. Yes to give this advice right now, Yes.

1082
00:46:37,239 --> 00:46:38,719
Speaker 3: And I don't want to speak like Bruno, because I'm

1083
00:46:38,719 --> 00:46:41,359
Speaker 3: not Bruno, right, So I will speak like myself and

1084
00:46:41,400 --> 00:46:42,719
Speaker 3: you know, hopefully if that works, it works.

1085
00:46:42,719 --> 00:46:44,000
Speaker 2: And apparently everyone was happy.

1086
00:46:43,800 --> 00:46:48,840
Speaker 1: So everyone was thrilled. So, yes, if given the opportunity,

1087
00:46:48,960 --> 00:46:50,600
Speaker 1: what would be a theme night that you would add

1088
00:46:50,640 --> 00:46:51,600
Speaker 1: to Dancing with the Stars?

1089
00:46:52,120 --> 00:46:53,800
Speaker 2: Who good question?

1090
00:46:54,840 --> 00:46:59,680
Speaker 3: Oh my gosh, what if you did like I don't know,

1091
00:46:59,680 --> 00:47:01,160
Speaker 3: I don't know. I just thought this was like, what

1092
00:47:01,200 --> 00:47:04,360
Speaker 3: if you did like dance in the kitchen night or something,

1093
00:47:04,960 --> 00:47:07,200
Speaker 3: or like songs that you know you're like, oh, I

1094
00:47:07,239 --> 00:47:07,879
Speaker 3: love that song.

1095
00:47:07,880 --> 00:47:09,600
Speaker 2: I would dance while I'm like making.

1096
00:47:09,400 --> 00:47:11,280
Speaker 1: My back my cleaning playlist?

1097
00:47:11,360 --> 00:47:13,680
Speaker 3: Yes, yes, like something where you're like at home but

1098
00:47:13,719 --> 00:47:15,600
Speaker 3: I love that song and I dance at home.

1099
00:47:15,520 --> 00:47:19,120
Speaker 1: Yes, or like cross Country road Trains playlist, like something

1100
00:47:19,160 --> 00:47:21,879
Speaker 1: that you need to fill a few hours that keeps

1101
00:47:21,880 --> 00:47:24,160
Speaker 1: the vibes good. Yeah, that's a really great great songs,

1102
00:47:24,360 --> 00:47:26,680
Speaker 1: great songs. Yeah, well that's a good one. I like that.

1103
00:47:26,800 --> 00:47:38,880
Speaker 4: Yeah.

1104
00:47:39,239 --> 00:47:41,040
Speaker 1: Can you tell us a little bit more about your

1105
00:47:41,040 --> 00:47:43,240
Speaker 1: work on the Dancing with the Stars tour and also

1106
00:47:43,360 --> 00:47:46,320
Speaker 1: how you're going to be able to accommodate me, because

1107
00:47:46,440 --> 00:47:48,400
Speaker 1: now that I'm a part of Dancing with the Stars,

1108
00:47:48,480 --> 00:47:50,200
Speaker 1: I literally don't think I'm ever gonna be able to

1109
00:47:50,239 --> 00:47:51,320
Speaker 1: return to my normal life.

1110
00:47:51,800 --> 00:47:52,720
Speaker 2: So how can.

1111
00:47:52,600 --> 00:47:56,880
Speaker 1: You involve me? I'll clean the kitchens or the bathrooms

1112
00:47:57,160 --> 00:47:58,800
Speaker 1: or whatever. Just let me be around.

1113
00:47:58,880 --> 00:48:01,160
Speaker 2: Oh my god, come dance. Sound be so fun.

1114
00:48:01,360 --> 00:48:01,920
Speaker 1: I would love to.

1115
00:48:02,480 --> 00:48:04,319
Speaker 3: Well, the tour is like okay, so I've done the

1116
00:48:04,320 --> 00:48:06,600
Speaker 3: tour forever. Yeah, multiple roles, Like I used to be

1117
00:48:06,640 --> 00:48:08,960
Speaker 3: supervising choreographer, and then i was co director for a while,

1118
00:48:08,960 --> 00:48:11,720
Speaker 3: and then I've been director for the last like four years,

1119
00:48:11,760 --> 00:48:15,279
Speaker 3: five years, I think. And it is so fun. I mean,

1120
00:48:15,280 --> 00:48:16,560
Speaker 3: like again, we don't have to talking about it now,

1121
00:48:16,560 --> 00:48:18,000
Speaker 3: but it would be amazing if you could come on

1122
00:48:18,040 --> 00:48:19,359
Speaker 3: and you could do a thing, and you know that's

1123
00:48:19,520 --> 00:48:22,040
Speaker 3: they were people that talk and you know, your group

1124
00:48:22,120 --> 00:48:24,040
Speaker 3: has to talk to my group whatever. You know, fine,

1125
00:48:24,320 --> 00:48:27,279
Speaker 3: but it is so fun to get out there and

1126
00:48:27,440 --> 00:48:31,160
Speaker 3: be amongst these people that vote for you, into you

1127
00:48:31,239 --> 00:48:34,120
Speaker 3: go into their towns and they you know, basically we

1128
00:48:34,160 --> 00:48:36,439
Speaker 3: are bringing this television show that they know and love

1129
00:48:36,920 --> 00:48:40,040
Speaker 3: right to their back door. And it's also an amazing

1130
00:48:40,080 --> 00:48:41,600
Speaker 3: moment for these pros to dance their.

1131
00:48:41,520 --> 00:48:45,600
Speaker 1: Face off exactly. I mean, yes, they are. This show

1132
00:48:45,680 --> 00:48:49,319
Speaker 1: has shown me the real stars of this show are

1133
00:48:49,400 --> 00:48:50,080
Speaker 1: these pros.

1134
00:48:50,200 --> 00:48:51,120
Speaker 3: I mean, they're incredible.

1135
00:48:51,360 --> 00:48:54,399
Speaker 1: They are incredible. I mean, I can't I really can't

1136
00:48:54,440 --> 00:48:58,200
Speaker 1: say it enough. Just how hard their job is to

1137
00:48:58,280 --> 00:49:02,279
Speaker 1: deal with a different personality every season. They have no

1138
00:49:02,360 --> 00:49:04,840
Speaker 1: idea what they're going to get, no idea. Every person

1139
00:49:05,040 --> 00:49:08,279
Speaker 1: learns differently, So even if they figure out how they

1140
00:49:08,320 --> 00:49:11,720
Speaker 1: become very good teachers, they have to adapt for somebody

1141
00:49:11,760 --> 00:49:14,200
Speaker 1: who's going to not, you know, not work well. Also,

1142
00:49:14,239 --> 00:49:16,439
Speaker 1: what if they are best at teaching from nine to one,

1143
00:49:16,760 --> 00:49:19,120
Speaker 1: but this person sleeps until three pm every day and

1144
00:49:19,120 --> 00:49:21,040
Speaker 1: they need to do five to nine every night. Yes,

1145
00:49:21,160 --> 00:49:23,680
Speaker 1: And like just the amount of things they have to do,

1146
00:49:24,320 --> 00:49:28,360
Speaker 1: and then dealing with our little like meltdowns and struggles

1147
00:49:28,480 --> 00:49:32,919
Speaker 1: and freaking injuries and you know, I mean just it's

1148
00:49:33,040 --> 00:49:36,560
Speaker 1: so much. And they do it all with so much grace.

1149
00:49:36,680 --> 00:49:39,759
Speaker 1: They're all so friendly with each other, they're all so supportive.

1150
00:49:40,360 --> 00:49:42,880
Speaker 1: I just they are so it feels to me. The

1151
00:49:42,920 --> 00:49:44,880
Speaker 1: thing I think I love most about the idea of

1152
00:49:44,920 --> 00:49:48,640
Speaker 1: Tour is that they are the stars of Tour.

1153
00:49:48,920 --> 00:49:50,680
Speaker 3: Yeah, that was a big thing when I when I

1154
00:49:50,719 --> 00:49:53,000
Speaker 3: took it over, I was like, I really want to

1155
00:49:53,160 --> 00:49:56,520
Speaker 3: just highlight them and make a show that they love

1156
00:49:56,600 --> 00:49:59,560
Speaker 3: to do every night that they feels good on their bodies,

1157
00:50:00,080 --> 00:50:03,000
Speaker 3: good in their souls, but then also highlights whoever's going

1158
00:50:03,040 --> 00:50:04,719
Speaker 3: to come out. So if we've got a celebrity that

1159
00:50:04,800 --> 00:50:06,640
Speaker 3: comes out, that we still have the kind of show

1160
00:50:06,680 --> 00:50:09,560
Speaker 3: that can highlight them and their journey for the moment

1161
00:50:09,640 --> 00:50:12,040
Speaker 3: and kind of like pop into a fun party for

1162
00:50:12,120 --> 00:50:14,040
Speaker 3: a couple of days or a week or two weeks,

1163
00:50:14,080 --> 00:50:16,239
Speaker 3: whatever it is, and then go away, you know, and

1164
00:50:16,239 --> 00:50:18,600
Speaker 3: like that. It doesn't make that the show doesn't sacrifice

1165
00:50:18,640 --> 00:50:19,440
Speaker 3: in it any way.

1166
00:50:19,760 --> 00:50:21,120
Speaker 2: So it's it's fun.

1167
00:50:21,160 --> 00:50:23,440
Speaker 3: It's actually one of my favorite jobs I do every year,

1168
00:50:23,440 --> 00:50:25,799
Speaker 3: and that's why I keep coming back because I just again,

1169
00:50:25,840 --> 00:50:27,839
Speaker 3: they're like my family and getting in the room and

1170
00:50:27,840 --> 00:50:31,120
Speaker 3: creating with Pasha, Yeah, being with Daniella, being with Britt,

1171
00:50:31,160 --> 00:50:33,760
Speaker 3: being with Emma, band with Alan val Jenna, all those guys,

1172
00:50:33,800 --> 00:50:36,759
Speaker 3: Like these are my cats. Yeah, like my squad, you know,

1173
00:50:36,840 --> 00:50:38,600
Speaker 3: So to get to make with them is so fun.

1174
00:50:38,719 --> 00:50:41,960
Speaker 1: Oh, I love that so much. Yeah, what is it

1175
00:50:42,080 --> 00:50:45,239
Speaker 1: dance from over the years that you think encapsulates the

1176
00:50:45,280 --> 00:50:47,640
Speaker 1: spirit and specialness of the show.

1177
00:50:48,520 --> 00:50:55,799
Speaker 3: M I always think that, Oh wow, I don't know,

1178
00:50:55,840 --> 00:50:58,080
Speaker 3: it's like I can't damn good questions.

1179
00:50:58,320 --> 00:51:03,160
Speaker 2: You're really good at your job. Hmm, okay, you know what,

1180
00:51:03,200 --> 00:51:04,160
Speaker 2: I actually okay, I don't know why.

1181
00:51:04,160 --> 00:51:05,560
Speaker 3: I just thought about this, but did you see that

1182
00:51:05,680 --> 00:51:07,719
Speaker 3: Len Goodman tribute that Valan Jenna?

1183
00:51:07,880 --> 00:51:08,360
Speaker 1: Yes?

1184
00:51:08,880 --> 00:51:14,840
Speaker 3: To me, I'm like that, for some reason encapsulates what

1185
00:51:15,040 --> 00:51:19,000
Speaker 3: makes the show so special. That they were able to take,

1186
00:51:20,120 --> 00:51:22,759
Speaker 3: you know, a style of dance and a moment on

1187
00:51:22,880 --> 00:51:25,040
Speaker 3: live television which you know doesn't always get to be

1188
00:51:25,080 --> 00:51:28,640
Speaker 3: the moment and celebrate a man who was a huge

1189
00:51:28,680 --> 00:51:31,799
Speaker 3: part of our show. And they did it so eloquently,

1190
00:51:31,960 --> 00:51:34,360
Speaker 3: and it was poetic and it was beautiful and it

1191
00:51:34,400 --> 00:51:36,879
Speaker 3: was entertaining, and it was like, I just remember when

1192
00:51:36,880 --> 00:51:38,560
Speaker 3: I watched it, I thought, like, good on you guys,

1193
00:51:38,600 --> 00:51:39,480
Speaker 3: like that was the moment.

1194
00:51:39,600 --> 00:51:43,040
Speaker 1: Would have loved that, Yes, And it was just done right.

1195
00:51:43,080 --> 00:51:45,279
Speaker 3: You know, it was produced right, it was costumed right,

1196
00:51:45,320 --> 00:51:46,920
Speaker 3: it was lit right, it was shot right. It was

1197
00:51:46,960 --> 00:51:49,920
Speaker 3: one of those things that again everybody came together to

1198
00:51:49,960 --> 00:51:52,839
Speaker 3: make the very best moments. And I guess that would

1199
00:51:52,840 --> 00:51:53,920
Speaker 3: be I thought.

1200
00:51:53,880 --> 00:51:56,759
Speaker 1: That really does sum up perfectly what Dancing with the

1201
00:51:56,760 --> 00:52:01,200
Speaker 1: Stars is. It's like from every every angle, there is

1202
00:52:01,280 --> 00:52:04,080
Speaker 1: a team working their hardest to make sure that the

1203
00:52:04,280 --> 00:52:07,319
Speaker 1: end result is as perfect, as close to perfect as

1204
00:52:07,320 --> 00:52:10,320
Speaker 1: it could possibly be, from the wardrobe to the lighting,

1205
00:52:10,440 --> 00:52:13,560
Speaker 1: to the hair, to the you know, choreography, to the dancers.

1206
00:52:13,680 --> 00:52:16,280
Speaker 1: It's it is, it's it's such a it's a machine

1207
00:52:16,320 --> 00:52:19,960
Speaker 1: and it's a well oiled machine, and it's somehow not cold.

1208
00:52:20,360 --> 00:52:21,480
Speaker 2: Yes love this?

1209
00:52:21,920 --> 00:52:25,880
Speaker 1: Oh, like, how are you a machine that is also

1210
00:52:26,080 --> 00:52:31,239
Speaker 1: a jacuzzie that's warm and fun? Like get me a

1211
00:52:31,320 --> 00:52:34,640
Speaker 1: beverage and put out the jacuzzi arm. It's like how,

1212
00:52:34,719 --> 00:52:37,560
Speaker 1: I don't know, It's just it's amazing. And I'm just

1213
00:52:37,640 --> 00:52:40,000
Speaker 1: so happy that I am a part of this twentieth season,

1214
00:52:40,160 --> 00:52:44,000
Speaker 1: that this twentieth anniversary, thirty fourth season. I am just

1215
00:52:44,200 --> 00:52:46,960
Speaker 1: I spent way too many years saying no for many

1216
00:52:46,960 --> 00:52:49,320
Speaker 1: different reasons, and boy, I'm thrilled. This was the perfect

1217
00:52:49,360 --> 00:52:50,719
Speaker 1: year to say yes, Yes.

1218
00:52:50,640 --> 00:52:51,799
Speaker 2: Good, You're gonna kill it too.

1219
00:52:52,000 --> 00:52:53,279
Speaker 3: I come on, I can't wait to see.

1220
00:52:53,320 --> 00:52:55,439
Speaker 1: I appreciate your advice. I'm going to take every last

1221
00:52:55,440 --> 00:52:57,120
Speaker 1: bit of it, and I'm going to be thinking about

1222
00:52:57,120 --> 00:52:59,880
Speaker 1: you this week as we are practicing our foxtrot.

1223
00:53:00,120 --> 00:53:01,160
Speaker 3: Oh you have a fox trot.

1224
00:53:01,400 --> 00:53:02,359
Speaker 2: I love a fox trots.

1225
00:53:03,120 --> 00:53:06,719
Speaker 1: Oh my god, he's very good at a very good

1226
00:53:06,840 --> 00:53:08,719
Speaker 1: I God, I love this. I'm so excited. So I'm

1227
00:53:08,719 --> 00:53:10,000
Speaker 1: gonna be I'm gonna be huge.

1228
00:53:10,040 --> 00:53:10,279
Speaker 3: Okay.

1229
00:53:11,360 --> 00:53:13,680
Speaker 1: Also shoulders down, yeah, because if you don't get to

1230
00:53:13,719 --> 00:53:16,000
Speaker 1: look nuts, don't look not don't look nuts. I also,

1231
00:53:16,160 --> 00:53:17,960
Speaker 1: I can't have Bruno tell me a third week in

1232
00:53:18,000 --> 00:53:19,480
Speaker 1: a row that I need to keep my shoulders down.

1233
00:53:19,560 --> 00:53:21,960
Speaker 1: I my number one goal for this week is that

1234
00:53:21,960 --> 00:53:23,000
Speaker 1: Bruno says.

1235
00:53:22,960 --> 00:53:25,480
Speaker 2: Hey, I saw your neck. Yeah, you know what.

1236
00:53:25,480 --> 00:53:28,239
Speaker 3: I also think maybe long neck instead of shoulders down,

1237
00:53:28,280 --> 00:53:30,480
Speaker 3: because sometimes shoulders down people get like this and they're

1238
00:53:30,520 --> 00:53:32,719
Speaker 3: still like kind of like turtally. But if you go

1239
00:53:32,800 --> 00:53:35,040
Speaker 3: like long neck at the same time, that might help.

1240
00:53:34,920 --> 00:53:37,280
Speaker 1: A good idea. Alright you yeah, I try. I try.

1241
00:53:37,560 --> 00:53:40,160
Speaker 1: I don't have a long neck, so I fake them

1242
00:53:40,200 --> 00:53:41,959
Speaker 1: out exactly. I just got to pretend that's fine.

1243
00:53:42,000 --> 00:53:42,440
Speaker 3: Look at you.

1244
00:53:43,160 --> 00:53:44,560
Speaker 1: Do you love your dress? Oh my god, a fox

1245
00:53:44,560 --> 00:53:48,080
Speaker 1: shrot dress. I love my dress. It's so beautiful. I

1246
00:53:48,640 --> 00:53:50,000
Speaker 1: was just talking about it with Posha last night. We're

1247
00:53:50,000 --> 00:53:51,720
Speaker 1: trying to decide if we're going to do a long sleeve.

1248
00:53:51,760 --> 00:53:53,120
Speaker 1: But if you do a long sleeve, I want the

1249
00:53:53,120 --> 00:53:55,719
Speaker 1: thing over the middle finger. I want lot and I

1250
00:53:55,719 --> 00:53:59,080
Speaker 1: want to shear with Ryan Stone. Yes, it's gonna feel like.

1251
00:53:59,040 --> 00:53:59,640
Speaker 3: A million boos.

1252
00:54:00,040 --> 00:54:01,680
Speaker 4: Oh my, your colors like this.

1253
00:54:02,040 --> 00:54:04,319
Speaker 1: Thank you so much for joining me. I am Mandy Moore.

1254
00:54:04,320 --> 00:54:06,880
Speaker 1: You are a legend. I am just so honored that

1255
00:54:06,880 --> 00:54:08,280
Speaker 1: you came and spend time with me this morning.

1256
00:54:08,320 --> 00:54:10,520
Speaker 2: And it's time, my friend. Thank you, Thank you.

1257
00:54:13,120 --> 00:54:16,520
Speaker 1: Danielle with the Stars Produced and hosted by Danielle Fischel.

1258
00:54:16,680 --> 00:54:19,960
Speaker 1: Executive producers Jensen Carp and Amy Sugarman, Executive in charge

1259
00:54:20,000 --> 00:54:24,120
Speaker 1: of production, Danielle Romo, Producer, editor and engineer Tara Sudbosch.

1260
00:54:24,440 --> 00:54:27,480
Speaker 1: Theme song by Justin Siegel. Follow us on Instagram at

1261
00:54:27,560 --> 00:54:30,400
Speaker 1: Danielle with Stars and vote for me.