WEBVTT - Dancing with…Mandy Moore 0:00:17.520 --> 0:00:20.599 Welcome to Danielle with the Stars. I am Danielle Fischl, 0:00:20.800 --> 0:00:24.320 a TV director, a podcaster, forever tapanga, and a mom 0:00:24.360 --> 0:00:27.960 of two. But currently, as I speak, I am competing 0:00:28.080 --> 0:00:31.120 as a ballroom dancer on the thirty fourth season of 0:00:31.280 --> 0:00:34.600 Dancing with the Stars, and in the process of cutting 0:00:34.680 --> 0:00:39.040 rugs and tearing tendons, I am recording a podcast chronicling 0:00:39.080 --> 0:00:42.440 my earnest and difficult journey to win a Len Goodman 0:00:42.520 --> 0:00:45.559 Mirror Ball Trophy. Each week on this podcast, I am 0:00:45.600 --> 0:00:49.600 soaking up every little thing I can about my new profession. 0:00:49.920 --> 0:00:53.440 I'm taking in every tip, trick and story the pros 0:00:53.640 --> 0:00:56.520 and past contestants are willing to share with me, and 0:00:56.640 --> 0:01:01.280 today I will be squeezing every last hours of expertise 0:01:01.400 --> 0:01:05.280 out of my guest. An absolute legend in the world 0:01:05.319 --> 0:01:08.319 of dance. In choreography, she made her mark on So 0:01:08.440 --> 0:01:11.080 You Think You Can Dance and a little network experiment 0:01:11.160 --> 0:01:13.679 you may have heard of called Dancing with the Stars. 0:01:14.200 --> 0:01:16.560 She brought her vision to the OSCAR winning movie La 0:01:16.640 --> 0:01:20.440 La Land and even helped shape Taylor Swift's record breaking 0:01:20.640 --> 0:01:25.880 eras tour Oh No Big Deal. She's created for the Oscars, 0:01:25.959 --> 0:01:29.240 the Golden Globes, the Grammys, the Emmys, which have nominated 0:01:29.280 --> 0:01:32.640 her eight times and given her three. She is an 0:01:32.760 --> 0:01:35.800 undeniable force in the industry. And now she's a guest 0:01:35.840 --> 0:01:38.840 on Danielle with the Stars. So please say hello to 0:01:39.080 --> 0:01:44.440 superstar choreographer Mandy Moore, who, like that was literally. 0:01:44.200 --> 0:01:45.320 The best centrol ever. 0:01:45.560 --> 0:01:48.680 Thank you so much, thank you, thank you so much 0:01:48.680 --> 0:01:51.400 for being here. Of course, you are truly a legend. 0:01:51.600 --> 0:01:54.400 Oh people say that. It is so weird When people 0:01:54.400 --> 0:01:55.880 say that, I'm like, wait, I think I'm just doing 0:01:55.920 --> 0:01:58.000 the best I can no nome most of the time. 0:01:58.080 --> 0:02:01.240 So know how you know you're really special is when 0:02:01.800 --> 0:02:05.560 when other very special people, like every single pro on 0:02:05.720 --> 0:02:09.200 Dancing with the Stars says, that is a person who 0:02:09.280 --> 0:02:11.760 knows what they're doing. That's a person we love to 0:02:11.800 --> 0:02:15.320 work with. Like they work with a lot of different choreographers. 0:02:15.680 --> 0:02:18.120 No one has anything to say about you other than, oh, 0:02:18.160 --> 0:02:20.000 she's the best. She's the best of the best. 0:02:20.200 --> 0:02:22.080 Love them and like my family. Yeah, it's weird. 0:02:22.120 --> 0:02:23.840 You know, I've been on the show a long time 0:02:24.000 --> 0:02:26.960 and I feel like I grew with them, and so 0:02:27.160 --> 0:02:29.480 they really truly I consider most of them I'm family. 0:02:29.600 --> 0:02:32.720 Well, you can tell that amongst all of you, there's 0:02:32.760 --> 0:02:36.360 a trust, there's like a you don't have to overproduce 0:02:36.480 --> 0:02:39.120 or over nitpick. You can give them guidance and then 0:02:39.240 --> 0:02:42.160 let them have creative freedom, and if something's not working, 0:02:42.160 --> 0:02:44.400 you collaborate together to fix it like you can. You 0:02:44.400 --> 0:02:46.920 can see that, and that's always the best kind of 0:02:46.960 --> 0:02:48.320 creative environment to be in. 0:02:48.440 --> 0:02:49.440 One thousand percent. 0:02:49.560 --> 0:02:51.919 And you know, I think, I'm sure we're probably gonna 0:02:51.919 --> 0:02:53.320 get into it, but let us get into it, you know. 0:02:53.400 --> 0:02:56.200 Like I started on that show, I had never done 0:02:56.240 --> 0:02:58.320 a step of ballroom in my life, and it was 0:02:58.360 --> 0:03:02.000 a really weird like experiment for me. I mean, I've 0:03:02.040 --> 0:03:05.160 been I worked on television, so I'd choreographed on television, 0:03:05.240 --> 0:03:08.480 but the actual art of ballroom dance in Latin dance, 0:03:08.520 --> 0:03:09.959 like it is not my thing. 0:03:10.000 --> 0:03:10.160 You know. 0:03:10.160 --> 0:03:13.920 I grew up tap dancing, jazz, ballet, million other styles 0:03:13.960 --> 0:03:16.960 that hadn't done ballroom. And when I got on the show, 0:03:17.040 --> 0:03:19.320 I was like, I sure you want me to choreograph 0:03:19.360 --> 0:03:20.880 because I think in my mind I thought, oh well, 0:03:20.880 --> 0:03:22.600 if I don't know exactly all the steps, I can't 0:03:22.720 --> 0:03:26.320 make it. But it was a really amazing process because 0:03:26.320 --> 0:03:28.720 that's where I started to learn how to collaborate, like 0:03:28.760 --> 0:03:31.200 you were just saying, with the pros because their choreographers 0:03:31.240 --> 0:03:33.520 and artists and their own rights totally, and so I 0:03:33.600 --> 0:03:36.160 just kind of became this conductor of movement for them, 0:03:36.600 --> 0:03:39.240 and I would create with them and then basically tell 0:03:39.280 --> 0:03:41.040 them like, you guys look crazy. You need to be 0:03:41.080 --> 0:03:45.640 better insane y yeah, And they would probably all tell 0:03:45.680 --> 0:03:46.920 you that like I would. You know, I used to 0:03:46.960 --> 0:03:49.120 do this thing where I would like screenshot their wides 0:03:49.160 --> 0:03:51.560 and I would say you look nuts here, you look 0:03:51.640 --> 0:03:53.840 nuts here, you look nuts here, And they really started 0:03:53.880 --> 0:03:55.920 to I think that's where I trust started to happen, 0:03:55.960 --> 0:03:57.400 because it was like, I'm just here to make you 0:03:57.440 --> 0:03:59.560 look greatly and then they'd be. 0:03:59.440 --> 0:04:01.760 Like, oh, we look good on that part, now, Oh, 0:04:01.840 --> 0:04:03.960 thank you for telling I know I as a director, 0:04:04.080 --> 0:04:06.560 I have had a couple opportunities where there will be 0:04:06.600 --> 0:04:08.680 a scene with a beautiful woman and she's supposed to 0:04:08.720 --> 0:04:10.720 be sick on the couch, and so she's relaxing on 0:04:10.760 --> 0:04:12.320 the couch and I'll just take a screenshot of the 0:04:12.320 --> 0:04:13.760 camera and I'll come in. I'll be like, you're gonna 0:04:13.760 --> 0:04:15.680 want to lift your chin a little bit. I'm just 0:04:15.680 --> 0:04:17.240 gonna show you right here, and then they be like, 0:04:17.440 --> 0:04:18.480 thanks girl, thanks girl. 0:04:18.520 --> 0:04:20.680 Always you gotta have their back. Yes, that's exact thing. 0:04:21.000 --> 0:04:23.920 Now, you know, we were we at each other's back. 0:04:24.480 --> 0:04:27.880 Who was the first professional dancer you remember seeing as 0:04:27.880 --> 0:04:30.800 a kid like that made you go, oh wow, I 0:04:30.839 --> 0:04:32.359 want to do that. 0:04:32.360 --> 0:04:33.080 That's a good question. 0:04:33.160 --> 0:04:34.880 I mean, I'm a kid of the eighties, so I 0:04:34.920 --> 0:04:38.920 grew up on MTV right and all of the eighties films, 0:04:39.120 --> 0:04:41.760 So the ones that probably stick out the most to 0:04:41.800 --> 0:04:44.400 me are something like a like a Flash Dance or 0:04:44.440 --> 0:04:48.440 Journey Dancing, or John Travolta in Not Saturday Night Fever, 0:04:48.680 --> 0:04:50.400 Staying Alive, the Jazz. 0:04:50.080 --> 0:04:52.720 Movie, all the jazz ones like that. 0:04:52.839 --> 0:04:54.040 But I was also a kid who grew up on 0:04:54.160 --> 0:04:56.839 MGM Musical, so I would say, like most people, chene 0:04:56.880 --> 0:05:00.120 Kelly freens like those were kind of my initial I 0:05:00.120 --> 0:05:02.360 think back to being a kid and looking at dance 0:05:02.440 --> 0:05:05.240 on you know, on the television screen. That's who I remember. 0:05:05.720 --> 0:05:08.839 Okay, great, I know you grew up in Colorado, and 0:05:08.880 --> 0:05:11.599 I wondered, have you ever felt bullied because you're not 0:05:11.600 --> 0:05:12.640 from Utah? 0:05:13.680 --> 0:05:15.320 Okay, this is a good story. I don't know if 0:05:15.360 --> 0:05:17.480 you know this I don't so. 0:05:18.240 --> 0:05:21.560 My dance teacher, Kim del Grosso, had a small studio 0:05:21.960 --> 0:05:25.239 in Colorado, the Mountains of Colorado. I grew up dancing 0:05:25.240 --> 0:05:28.760 with Kim. When I was in middle school. She sold 0:05:28.760 --> 0:05:33.120 the studio and moved to Utah and open up what 0:05:33.360 --> 0:05:37.480 is known as Center Stage Dance Studio, which is Julianne, 0:05:37.600 --> 0:05:42.320 Derek Whitney, Lindsey, Jenna, like all of them. So it's 0:05:42.360 --> 0:05:45.640 also so weird that, like, I have this crazy connection 0:05:45.760 --> 0:05:47.440 to all these people that I know and love that 0:05:47.800 --> 0:05:49.160 we have the same dance teacher. 0:05:49.080 --> 0:05:52.040 Same dance teacher. Yeah, just in two different states, Colorado 0:05:52.080 --> 0:05:55.200 and Utah. Totally totally, So you're completely connected. You're al 0:05:55.240 --> 0:05:58.400 still part of that same family. There are so many 0:05:58.600 --> 0:06:02.040 aspiring dancers out there who have immense talent and are 0:06:02.080 --> 0:06:05.160 trying to make it. Who and what was the big 0:06:05.200 --> 0:06:07.880 break that got that helped you get into the right rooms? 0:06:07.960 --> 0:06:12.560 M let's see, this will be another good story, I guess, 0:06:13.000 --> 0:06:17.000 Harry ann and Aba really yes, So I moved out 0:06:17.040 --> 0:06:20.279 here at eighteen, you know, to be a dancer from 0:06:20.279 --> 0:06:23.000 the Mountains of Colorado. I didn't know anything about anything. 0:06:23.040 --> 0:06:24.159 I knew nothing about the business. 0:06:24.200 --> 0:06:25.320 Did you a family here at all. 0:06:25.480 --> 0:06:28.320 No, I had my family, had a friend here, and 0:06:28.320 --> 0:06:30.240 I stayed on his couch for like three weeks when 0:06:30.279 --> 0:06:31.880 I got here. I mean, it was one of those 0:06:31.920 --> 0:06:34.000 totally like cliche stories where I was like, I drive 0:06:34.040 --> 0:06:35.200 out in my Wrangler with a. 0:06:35.160 --> 0:06:37.680 Dollar in my poskeet. Yeah, I'm gonna make it. I'm 0:06:37.680 --> 0:06:38.080 gonna be a. 0:06:38.080 --> 0:06:40.560 Star one one thousand percent. And then you know, of 0:06:40.600 --> 0:06:42.919 course you get here and you're like, whoa, this is 0:06:42.960 --> 0:06:43.560 a whole. 0:06:43.360 --> 0:06:44.160 Thing here, you know. 0:06:44.760 --> 0:06:48.200 But I ended up kind of starting to train at 0:06:48.200 --> 0:06:50.040 the studio called Edge Performing Art Center. I don't know 0:06:50.040 --> 0:06:52.440 if you ever heard of it, but so that was 0:06:52.480 --> 0:06:55.560 kind of like my home base basically. And through training there, 0:06:55.680 --> 0:06:57.680 I started to take classes with carry In and she 0:06:57.760 --> 0:07:00.720 had just come off of tour with Madonna and one 0:07:00.760 --> 0:07:03.479 of my teachers, Alex Magno, she took a lot of 0:07:03.480 --> 0:07:05.279 class with and so Carrie Anne and I just kind 0:07:05.279 --> 0:07:10.040 of started always being bookends. Whenever he would do pieces 0:07:10.160 --> 0:07:11.760 or something like, he'd always put me on one side, 0:07:12.000 --> 0:07:14.040 she would be my book end, and so we just 0:07:14.120 --> 0:07:17.400 became friends. And then she started to transition into choreography 0:07:17.880 --> 0:07:20.120 and needed an assistant, and this is at the start 0:07:20.240 --> 0:07:23.560 of reality television, So this is like who wants to 0:07:23.600 --> 0:07:28.240 marry a multi millionaire America's Sexiest Bachelor, like some classic 0:07:28.880 --> 0:07:32.960 yeah yeah, And so I would be her assistant and 0:07:33.000 --> 0:07:36.400 then lo and behold, she started getting to know more people. 0:07:36.800 --> 0:07:39.440 We ended up being on a show called All American 0:07:39.480 --> 0:07:42.680 Girl where Conrad whose producer of. 0:07:44.160 --> 0:07:45.080 Green Yes, and. 0:07:45.080 --> 0:07:49.160 Nigel Lithgow were co producers, and so we met them, 0:07:49.760 --> 0:07:53.320 and then Nigel went over to American Idol and we 0:07:53.720 --> 0:07:56.320 Carrianne and I ended up going to American Idol and 0:07:56.360 --> 0:07:58.240 then she ended up getting this is a. 0:07:58.200 --> 0:07:59.280 Very I'm almost finished. 0:07:59.400 --> 0:08:02.000 Then Nigel went and started So You Think You Can Dance, 0:08:02.080 --> 0:08:05.040 and had asked Carrie Anne to come over to So 0:08:05.080 --> 0:08:06.960 you Think you Can Dance. Dancing with the Stars was 0:08:07.000 --> 0:08:09.760 also starting with Comrade, and Carrie Anne, at a very 0:08:09.800 --> 0:08:12.440 crazy moment, decided to go to Dancing with the Stars 0:08:12.440 --> 0:08:13.960 because she was going to be a judge on this 0:08:13.960 --> 0:08:17.360 brand new ballroom dancing show. And then she ended up 0:08:17.400 --> 0:08:19.160 being this judge and then I kind of started taking 0:08:19.200 --> 0:08:21.720 over it American Idol, so like I really and then 0:08:21.760 --> 0:08:23.600 the rest is kind of history from there. But I 0:08:23.680 --> 0:08:26.520 credit her was so much of my success because she 0:08:26.600 --> 0:08:28.800 really like, if I hadn't been with her, I wouldn't 0:08:28.800 --> 0:08:30.680 be in the rooms ununfenvable. 0:08:30.720 --> 0:08:33.160 What a great story. Yeah, and it's so nice too 0:08:33.200 --> 0:08:36.200 that it was like I love every time, no offense 0:08:36.200 --> 0:08:39.040 to men. I love every time it's another woman. Yes, 0:08:39.200 --> 0:08:41.840 that was like, listen, I see something in you. I 0:08:41.840 --> 0:08:44.880 want you with me. Let's do this together. See my assistant, 0:08:44.960 --> 0:08:48.120 learn from me, help me. And then when the time came, 0:08:48.280 --> 0:08:50.520 it was like, you're ready to launch and you got 0:08:50.520 --> 0:08:51.520 to just fly on your own. 0:08:51.640 --> 0:08:54.520 Yes, And that's huge to be supporting other people like that. 0:08:54.600 --> 0:08:56.400 And I learned so much about the business from her, 0:08:56.600 --> 0:08:59.280 like seeing her navigate these rooms full of a lot 0:08:59.320 --> 0:09:02.240 of men a lot of times, and like being in 0:09:02.360 --> 0:09:05.960 a place where like reality television and the kinds of things 0:09:06.000 --> 0:09:08.920 we were doing on television, it wasn't really happening, so 0:09:08.960 --> 0:09:11.319 she was kind of also making up things as we 0:09:11.320 --> 0:09:14.439 were going, you know. But I just loved understanding her process, 0:09:14.520 --> 0:09:17.320 understanding how she would run the department, what meetings, what 0:09:17.360 --> 0:09:19.360 she would say in meetings, what she didn't say in meetings. 0:09:19.400 --> 0:09:21.320 You know, where I was just a young kid with 0:09:21.360 --> 0:09:23.120 wanting to, you know, make up dance steps and I 0:09:23.280 --> 0:09:25.760 learned that it was so much more than that obviously. 0:09:25.400 --> 0:09:26.880 Right, it's a real business. You have to be a 0:09:26.880 --> 0:09:27.480 business woman. 0:09:27.679 --> 0:09:30.120 Yes, when you're heading a department, it's not about your 0:09:30.200 --> 0:09:32.320 dance steps. Yeah, it's about all the other things. And 0:09:32.320 --> 0:09:34.040 then it's still about your dance steps at the end 0:09:34.040 --> 0:09:34.440 of the day. 0:09:35.040 --> 0:09:37.000 So when you moved here and you were eighteen with 0:09:37.040 --> 0:09:40.160 a dollar in your pocket at that time, right before 0:09:40.200 --> 0:09:43.040 the reality TV boom, what was on your vision board? 0:09:43.040 --> 0:09:45.080 What was the dream? What did you what? What was 0:09:45.080 --> 0:09:46.280 your goal of coming here? 0:09:46.600 --> 0:09:48.320 I mean, I was definitely going to dance for Janet 0:09:48.360 --> 0:09:50.360 for ok I was going to go on tour with Janet, 0:09:50.520 --> 0:09:52.320 And I was definitely going to go on if Miss 0:09:52.440 --> 0:09:54.560 Jackson if You're Nasty, And then I was for sure 0:09:54.559 --> 0:09:56.360 going to go on tour with Madonna. Okay, either one 0:09:56.400 --> 0:09:58.800 of those things happened. But you know, now that I 0:09:58.880 --> 0:10:00.920 look back, I'm like, yeah, I'm like, you know, I 0:10:00.960 --> 0:10:03.200 was never probably going to be that person that was 0:10:03.200 --> 0:10:05.600 going to be on tour with those people. I definitely 0:10:05.600 --> 0:10:07.200 got to the end of a lot of those auditions, 0:10:07.200 --> 0:10:08.960 but I was like, I'm not your girl. I don't 0:10:09.000 --> 0:10:13.240 think Okay, you go so thankfully though, like I also 0:10:13.360 --> 0:10:15.240 learned in that time that I was like, I really 0:10:15.280 --> 0:10:18.800 love teaching and creating. I love choreography. I actually love 0:10:18.840 --> 0:10:20.720 it more than being in front of the camera, really, 0:10:20.840 --> 0:10:22.880 And that was like a really like interesting thing to 0:10:22.960 --> 0:10:25.200 kind of learn along the way that, like, you know, 0:10:25.240 --> 0:10:28.280 I'd be in in on film sets, you know, dancing, 0:10:28.320 --> 0:10:30.120 and I'd just be like, I didn't care about it. 0:10:30.160 --> 0:10:32.800 I wanted I was looking over at video Village and 0:10:32.840 --> 0:10:35.000 I was like, man, that ad is cool, Like what's 0:10:35.000 --> 0:10:35.720 this call sheet? 0:10:35.960 --> 0:10:38.080 I'm like, who's that person over there? You know? 0:10:38.160 --> 0:10:40.280 And I was way more interested in that than I 0:10:40.400 --> 0:10:42.800 was about getting warmed up at midnight to do some 0:10:42.960 --> 0:10:43.920 like big dance scene. 0:10:44.080 --> 0:10:47.719 Yes, yeah, but there. It is interesting how being creative 0:10:49.160 --> 0:10:52.000 but creative in front of the camera and a creative 0:10:52.120 --> 0:10:55.120 behind the camera. How what different parts of your brain 0:10:55.160 --> 0:10:57.240 you have to use. I know, for me having made 0:10:57.240 --> 0:11:00.520 the transition from an actor to a director, being an actor, 0:11:00.559 --> 0:11:03.319 it's like everything's about all the forward facing stuff. I 0:11:03.600 --> 0:11:05.000 have to be in hair and makeup all the time. 0:11:05.040 --> 0:11:07.280 I have to physically be taking care of myself out 0:11:07.320 --> 0:11:08.760 at all times. If I have a pimple, it could 0:11:08.760 --> 0:11:11.920 be disastrous. I have to a disaster. If I have 0:11:11.960 --> 0:11:13.240 to have something to wear, I need to be hair 0:11:13.240 --> 0:11:14.720 and makeup ready. I need to have a glam team. 0:11:14.760 --> 0:11:16.920 That requires a lot of time. I have to be 0:11:16.960 --> 0:11:19.480 good at public speaking and doing all those things. And 0:11:19.520 --> 0:11:21.600 then as the director, I'm like, nobody gives a crap 0:11:21.640 --> 0:11:23.680 about me. But I still get to have all the 0:11:23.760 --> 0:11:26.200 creative juices going and work with other people, get to 0:11:26.240 --> 0:11:29.840 their performances out of them. So it is interesting how 0:11:29.880 --> 0:11:32.079 you're like, oh, I still get to be creative. It's 0:11:32.200 --> 0:11:33.400 just a little different. 0:11:33.480 --> 0:11:36.120 Yeah, it's a totally It's almost like right brain, left brain, 0:11:36.160 --> 0:11:38.920 and somewhere way. Even though both are You're right, both 0:11:38.920 --> 0:11:41.040 are created. It's just a very different kind of like 0:11:42.040 --> 0:11:44.840 I don't know what's expected of you, you know, and 0:11:44.920 --> 0:11:47.040 like I mean as a dancer, it might be slightly 0:11:47.040 --> 0:11:49.000 different as an actor, but as a dancer on camera 0:11:49.040 --> 0:11:52.080 it's like, man, you're just like herded like cattle. It's 0:11:52.160 --> 0:11:54.160 just you know, and I really try to make a 0:11:54.200 --> 0:11:55.960 thing obviously when I'm on set and not have that 0:11:56.000 --> 0:11:57.640 happen for dancers too, that like no. 0:11:57.600 --> 0:12:00.720 One should be treated by cattle. But you know, it's like, man. 0:12:00.600 --> 0:12:03.600 These people are putting out their physicality and their bodies 0:12:03.600 --> 0:12:05.719 for us to like do this amazing thing that people love, 0:12:05.760 --> 0:12:07.480 which is dance, you know, but like the least we 0:12:07.520 --> 0:12:09.480 can do is like respect them and make sure that 0:12:09.520 --> 0:12:11.559 they're good, and give them a place of warm up 0:12:11.600 --> 0:12:12.640 and give them water. 0:12:12.559 --> 0:12:14.080 And like all the things. 0:12:14.160 --> 0:12:17.160 Just very basic, just basics now. And I wouldn't know 0:12:17.240 --> 0:12:20.360 any of that because on Dancing with the Stars, at 0:12:20.440 --> 0:12:24.880 least in my experience, everybody is treated, yes, very well. 0:12:25.040 --> 0:12:26.160 That's why that shows amazing. 0:12:26.400 --> 0:12:29.240 I mean it is from top to bottom. I have 0:12:29.320 --> 0:12:37.440 felt supported, listened to, understood, respected. They're absolutely with scheduling stuff. 0:12:37.440 --> 0:12:39.960 You know, I'm super type. So like they send me 0:12:39.960 --> 0:12:41.280 a schedule, They're like, the car will pick you up 0:12:41.280 --> 0:12:42.559 at six forty five. I'm like, I think their cars 0:12:42.559 --> 0:12:44.880 should pick me up at six thirty because I want 0:12:44.880 --> 0:12:47.319 to be there at seven am instead of seven to fifteen, 0:12:47.559 --> 0:12:50.080 because I want fifteen extra minutes warming up. And they're like, sure, weirdo, 0:12:50.200 --> 0:12:53.720 whatever you want. Like so, I but you're right now 0:12:53.720 --> 0:12:56.800 that I'm thinking about it. In other aspects of my life, 0:12:57.240 --> 0:12:59.120 I would not have thought about the fact that dancers 0:12:59.120 --> 0:13:01.319 were probably not treated very well. 0:13:01.200 --> 0:13:03.839 Not all the time. You know, the protections aren't always there. 0:13:03.880 --> 0:13:05.440 And I think it gets better, and I I think 0:13:05.480 --> 0:13:07.960 now in culture just in general, maybe people are hoping 0:13:08.040 --> 0:13:11.520 to understand and be you know, let people be heard 0:13:11.600 --> 0:13:13.560 and seeing. Like I do think it's getting better. But 0:13:14.160 --> 0:13:16.920 you know, it's the industry moves so fast, you know this, 0:13:17.160 --> 0:13:20.280 and like everybody's in and out in two seconds, and 0:13:20.280 --> 0:13:22.880 it's money, money, money, money, and you know, and unfortunately 0:13:22.880 --> 0:13:25.079 that can start. You don't always treat people like humans 0:13:25.120 --> 0:13:25.720 when that happens. 0:13:25.800 --> 0:13:28.280 And sometimes also the person making the schedule is not 0:13:28.400 --> 0:13:31.000 aware of what a dancer needs. So the person's like, 0:13:31.000 --> 0:13:33.000 all right, we'll bring these dancers in at eleven we'll 0:13:33.000 --> 0:13:34.480 have them on the floor at eleven oh two, and 0:13:34.520 --> 0:13:37.120 it's like, no, no, they're gonna need they they're bought there. 0:13:37.320 --> 0:13:39.280 They physically need to warm up, they need to drink 0:13:39.320 --> 0:13:41.960 something like. So yeah, sometimes it's just we need to 0:13:41.960 --> 0:13:45.720 have people who understand yes, and have can represent for 0:13:45.760 --> 0:13:48.040 each group of people to be involved in the planning 0:13:48.080 --> 0:13:48.600 of the days. 0:13:48.760 --> 0:13:52.200 One thousand percent. This is why you're a great producer director. Yes, 0:13:52.280 --> 0:13:54.599 you understand, I understand it. 0:13:54.760 --> 0:13:58.520 Okay, here's my transition to start asking about my own dances. Wait, wait, okay, 0:13:58.520 --> 0:14:01.040 I go weaseling my way in getting advice from one 0:14:01.040 --> 0:14:04.240 of the goats. What do you think makes a good 0:14:04.640 --> 0:14:05.680 student of dance? 0:14:06.320 --> 0:14:08.760 Oh? 0:14:09.200 --> 0:14:10.040 Vulnerability? 0:14:10.480 --> 0:14:14.599 Okay, I love your first yes. 0:14:14.360 --> 0:14:20.080 Because it is vulnerable to be an open enough vessel 0:14:20.280 --> 0:14:23.280 to accept information about something that you most likely are 0:14:23.320 --> 0:14:23.880 not good at. 0:14:24.480 --> 0:14:27.720 Round one right, because I'm sure what you guys had 0:14:27.720 --> 0:14:28.680 a tangle week one right? 0:14:28.720 --> 0:14:31.640 And and you know, I don't know how you feel. 0:14:31.640 --> 0:14:33.080 But again after saying like, I. 0:14:33.040 --> 0:14:35.880 Don't do Latin and borrom like when these guys and 0:14:35.920 --> 0:14:37.600 of course over the years they've taught me things, but 0:14:37.760 --> 0:14:40.880 it is hard. The coordination is really hard, and the 0:14:40.880 --> 0:14:44.440 weight changes hard. And as someone who understands their body, 0:14:44.440 --> 0:14:47.080 who understands how to put themselves in front of the camera, 0:14:47.600 --> 0:14:49.760 you have to be vulnerable to know that you are 0:14:49.760 --> 0:14:52.680 going to look really bad and be really bad. Yeah. 0:14:52.720 --> 0:14:55.760 First correct, and then you have to trust that you 0:14:55.840 --> 0:14:59.200 have an amazing coach, which Posh is like the best, 0:14:59.640 --> 0:15:03.120 really incredible. I mean he's not only like a fantastic human, 0:15:03.160 --> 0:15:06.120 but he's also a really really great coaching dancer and choreographer. 0:15:06.160 --> 0:15:06.720 He really is. 0:15:06.760 --> 0:15:07.840 So you're in great hands. 0:15:07.880 --> 0:15:10.280 I know, I've known that since moment one, I've been like, 0:15:10.400 --> 0:15:13.920 oh I can. I started just saying trust the Pasha 0:15:14.000 --> 0:15:16.120 because it was trust the process. At first it was, 0:15:16.240 --> 0:15:18.520 and then it was like, oh, it's not just it's 0:15:18.520 --> 0:15:21.720 not even about the process, it's about just totally trusting him. 0:15:22.120 --> 0:15:24.640 And like you know, the night before my chat jaw, 0:15:24.680 --> 0:15:28.320 we decided to speed it up, literally after doing dress rehearsal, 0:15:28.840 --> 0:15:30.960 and then we were like, I think we need, we need, 0:15:31.000 --> 0:15:33.240 we can do it faster now. And that was Monday 0:15:33.320 --> 0:15:37.400 night after Saturday, me being nowhere near ready for the 0:15:37.480 --> 0:15:40.800 dance Saturday night being like I'm I'm not even close. 0:15:40.880 --> 0:15:41.600 I'm not even it's over. 0:15:41.680 --> 0:15:42.080 It's over. 0:15:42.240 --> 0:15:44.720 Forget it, drop and kick me out. I'm out of here. 0:15:45.600 --> 0:15:47.640 And then Sunday we rehearsed all day and it was 0:15:47.680 --> 0:15:49.800 like everything had just settled, and then all of a 0:15:49.840 --> 0:15:52.080 sudden on Monday, I looked too comfortable and so we 0:15:52.080 --> 0:15:53.960 sped it up. But then that added a whole new 0:15:54.000 --> 0:15:56.720 thing to like, all right, now I've got to redo 0:15:56.760 --> 0:15:57.200 all this. 0:15:57.320 --> 0:15:58.960 And that's vulnerable. You said you're Type A. 0:15:59.120 --> 0:16:01.440 I am also type so I understand this that like 0:16:01.480 --> 0:16:04.440 you're used to being in control of how you are 0:16:04.440 --> 0:16:06.480 going to present yourself in any sort of a way. 0:16:07.000 --> 0:16:09.880 Great dance is when you can stop like that control 0:16:09.920 --> 0:16:12.840 of like how it's going the outcome, and like trust 0:16:12.840 --> 0:16:16.680 the process, vulnerable in the moment and dance from like inside. 0:16:16.680 --> 0:16:18.560 You have to find a moment of being able to 0:16:18.640 --> 0:16:19.320 dance from. 0:16:19.160 --> 0:16:19.640 Like your heart. 0:16:19.840 --> 0:16:22.280 Yes, that's when people love you. They can let go 0:16:22.360 --> 0:16:25.000 of a like weird arm or a being with a 0:16:25.040 --> 0:16:27.200 foot or a knee or whatever. But like if you 0:16:27.240 --> 0:16:29.120 look like you're having the time of your life and 0:16:29.160 --> 0:16:31.360 you're feeling this thing and you have like risen to 0:16:31.360 --> 0:16:32.920 the occasion, people are going to be into it. 0:16:33.040 --> 0:16:36.600 Yeah, okay, I love that vulnerability. Anything else you think 0:16:36.640 --> 0:16:40.000 makes a good student of dance, I think. 0:16:40.880 --> 0:16:43.760 A good combo between I would say like head and 0:16:43.840 --> 0:16:45.960 heart that you're able to like cause I don't know 0:16:45.960 --> 0:16:47.600 if you feel this and the bits that you've been 0:16:47.600 --> 0:16:50.600 working with posh. But like I find when you're learning something, 0:16:50.600 --> 0:16:52.400 it's like it starts with head and you're kind of 0:16:52.440 --> 0:16:55.040 like mathematically trying to figure out what's going on because 0:16:55.040 --> 0:16:56.400 you also don't want to be a hot mess. Just 0:16:56.440 --> 0:16:58.960 like leading from your heart life and he's just twirling 0:16:58.960 --> 0:17:01.400 you around the floor. But then you start getting super 0:17:01.400 --> 0:17:03.040 heady and you have to then go like, okay, I 0:17:03.080 --> 0:17:05.080 gotta feel it. I gotta like let it in my body. 0:17:05.280 --> 0:17:07.520 And then you get all ah mess again and then 0:17:07.520 --> 0:17:09.119 you're like no, no, no, back to the head. And 0:17:09.119 --> 0:17:11.399 then before you know it, it's like those little interactions 0:17:11.400 --> 0:17:13.840 get smaller and smaller and smaller, and you kind of 0:17:13.880 --> 0:17:16.679 like put them together and you move from both your 0:17:16.680 --> 0:17:17.920 head and your heart at the same time. 0:17:18.000 --> 0:17:20.280 And I think that makes a really great student if 0:17:20.320 --> 0:17:21.320 you're able to do those things. 0:17:21.440 --> 0:17:24.080 Yes, that's a that's a very good point that And 0:17:24.119 --> 0:17:25.960