War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult. ↗
Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program. ↗
You get used to working with one choreographer. You kind of get stuck in that vein and you work your way out of it, picking up someone else's style, their flavor. It takes a bit of time. ↗
I would say that if you don't feel like talking to the crowd something is wrong and if you force yourself to talk to them things will happen and to that extent things aren't choreographed. ↗
I thought I had to make an impact on history. I had to become the greatest choreographer of my time. That was my mission. Posterity deals with us however it sees fit. But I gave it 20 years of my best shot. ↗
I have ballet class every other day for two hours. And for "Six Feet Under", last week there was a sequence where I had to do a whole choreographed dance number, so I had four hours of dance practice every day. ↗
I worked with the same trainer that worked with Denzel Washington in THe Hurricane. It was three months of training, five days a week, 4 to 5 hours a day. This was followed by a month of choreography. ↗
That piece has been choreographed so badly so many times. I'm loathe to do it but I may eventually because it is one of the seminal art works of the twentieth century. ↗
I think I just have this need to be a storyteller. That's why I wasn't a great dancer - I couldn't articulate a story. I was a better choreographer. I have the need to to just express myself in that way. I can't explain it. ↗