1 00:00:00,516 --> 00:00:03,599 (upbeat eerie music) 2 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:32,027 --> 00:00:34,944 (orchestral music) 5 00:00:57,618 --> 00:01:00,618 (voices whispering) 6 00:01:05,477 --> 00:01:09,475 ♪ GTFOR ♪ 7 00:01:09,475 --> 00:01:11,475 ♪ GTFOR ♪ 8 00:01:13,462 --> 00:01:16,462 (voices whispering) 9 00:01:23,210 --> 00:01:26,973 - Just before we go from the top, tell me why the see-saw? 10 00:01:30,452 --> 00:01:31,285 - I don't know. 11 00:01:37,610 --> 00:01:40,530 'Cause I kinda like the idea of doing stuff that is, 12 00:01:40,530 --> 00:01:44,530 is not flat on the ground, that it just makes... 13 00:01:44,530 --> 00:01:48,080 Something that makes an ordinary movement extraordinary, 14 00:01:48,080 --> 00:01:50,270 that it just puts people in a different situation. 15 00:01:50,270 --> 00:01:52,070 So anything gets heightened 16 00:01:52,950 --> 00:01:54,540 because there is an element of danger, 17 00:01:54,540 --> 00:01:57,550 which means that the body reacts differently to it. 18 00:01:57,550 --> 00:02:00,750 So it's just not a decorative prop. 19 00:02:00,750 --> 00:02:05,310 It's just it also gives a sense of space. 20 00:02:05,310 --> 00:02:07,539 You kinda know where you are 21 00:02:07,539 --> 00:02:08,850 and then you don't know where you are, 22 00:02:08,850 --> 00:02:10,750 which means that it could be anything. 23 00:02:12,732 --> 00:02:15,403 It's evocative of something. 24 00:02:16,352 --> 00:02:18,852 (eerie music) 25 00:02:22,962 --> 00:02:27,962 ♪ The day Contrapposto ♪ 26 00:02:28,612 --> 00:02:33,612 ♪ The city Contrapposto ♪ 27 00:02:33,791 --> 00:02:37,958 ♪ It exists even as it disappears ♪ 28 00:02:40,439 --> 00:02:43,772 (eerie music continues) 29 00:02:47,162 --> 00:02:52,071 ♪ Oh yes, I agree ♪ 30 00:02:52,071 --> 00:02:55,121 ♪ No brain child ♪ 31 00:02:55,121 --> 00:02:57,704 ♪ No overtures ♪ 32 00:03:00,880 --> 00:03:02,530 - Did you still have another one? 33 00:03:04,280 --> 00:03:08,270 So they come in together, the three hold hands 34 00:03:08,270 --> 00:03:11,250 and then there is the extension, come in, come in 35 00:03:11,250 --> 00:03:13,690 and keep that, keep that hand there. 36 00:03:13,690 --> 00:03:16,523 (celestial music) 37 00:03:18,330 --> 00:03:20,260 So you taking the hand away 38 00:03:20,260 --> 00:03:22,140 means that you're already in space. 39 00:03:22,140 --> 00:03:24,100 They do the wah, wah, wah, 40 00:03:24,100 --> 00:03:26,380 go around and ready for the yada. 41 00:03:33,269 --> 00:03:36,686 ♪ Yada, yada, yada, yada ♪ 42 00:03:40,170 --> 00:03:41,850 - [Michael] Scott Walker has made a really eccentric 43 00:03:41,850 --> 00:03:42,770 piece of music. 44 00:03:42,770 --> 00:03:43,950 How are you finding it? 45 00:03:43,950 --> 00:03:48,530 - Well, if you really use it like if it's a film, 46 00:03:48,530 --> 00:03:49,760 it almost makes sense. 47 00:03:49,760 --> 00:03:51,710 So it's almost like I'm treating it, 48 00:03:51,710 --> 00:03:55,490 I don't know dramaturgically what the fuck is going on, 49 00:03:55,490 --> 00:03:59,260 except that for some reason it's making them 50 00:04:00,210 --> 00:04:02,206 react dramatically. 51 00:04:02,206 --> 00:04:03,632 - [Choreographer] Use it on three. 52 00:04:03,632 --> 00:04:07,049 ♪ Yada, yada, yada, yada ♪ 53 00:04:08,095 --> 00:04:10,595 (eerie music) 54 00:04:13,251 --> 00:04:16,668 ♪ Yada, yada, yada, yada ♪ 55 00:04:21,060 --> 00:04:23,360 - Don't go anywhere, stay there. 56 00:04:23,360 --> 00:04:27,823 So what I mean is stay on that one until this new motif. 57 00:04:30,400 --> 00:04:31,760 - [Michael] It seems like you're not trying to tell 58 00:04:31,760 --> 00:04:33,207 a specific story. 59 00:04:33,207 --> 00:04:35,120 - But there is enough drama in the music 60 00:04:35,120 --> 00:04:38,400 for encounters to happen that are not necessarily 61 00:04:39,820 --> 00:04:41,410 relevant or explainable. 62 00:04:41,410 --> 00:04:43,620 There is just, it's just the music seems to bring 63 00:04:43,620 --> 00:04:47,210 some kind of tension in a good way, 64 00:04:47,210 --> 00:04:49,990 so they don't have to put anything on top of it. 65 00:04:49,990 --> 00:04:52,364 It's already given to them as part of the script. 66 00:04:52,364 --> 00:04:53,885 - [Choreographer] Four moves and... (clicking fingers) 67 00:04:53,885 --> 00:04:57,302 ♪ Yada, yada, yada, yada ♪ 68 00:05:01,360 --> 00:05:05,080 - Also I push them at that very early stages 69 00:05:05,080 --> 00:05:07,336 to be very naturalistic. 70 00:05:07,336 --> 00:05:10,169 (celestial music) 71 00:05:18,100 --> 00:05:19,210 Okay, good. 72 00:05:19,210 --> 00:05:21,970 So you're gonna get, "For all it matters." 73 00:05:21,970 --> 00:05:24,690 ♪ Ati-dah-dah-dah, api-dah-dah-dah, ati-dah-dah-dah ♪ 74 00:05:24,690 --> 00:05:25,523 I'm 75 00:05:26,440 --> 00:05:30,210 almost casual about the approach to it. 76 00:05:30,210 --> 00:05:32,563 And there really was a sense of a fourth wall, 77 00:05:33,960 --> 00:05:37,360 and this what it has done is that this has turned it 78 00:05:37,360 --> 00:05:39,310 and I'm not fighting against the fact 79 00:05:39,310 --> 00:05:41,813 that it's way more dramatic and presentational, 80 00:05:44,410 --> 00:05:47,940 and it makes them bigger than life, I think. 81 00:05:47,940 --> 00:05:49,093 So it helps. 82 00:05:49,093 --> 00:05:51,593 (eerie music) 83 00:05:54,812 --> 00:05:58,061 ♪ The worst case scenario ♪ 84 00:05:58,061 --> 00:06:02,874 ♪ Of the currency never returning to the country of origin ♪ 85 00:06:02,874 --> 00:06:07,874 ♪ Is actually the best possible outcome ♪ 86 00:06:10,021 --> 00:06:15,021 ♪ Ah, of course, I get it ♪ 87 00:06:15,142 --> 00:06:18,671 ♪ It will be the same result as if the exporting country ♪ 88 00:06:18,671 --> 00:06:21,728 ♪ Burned the dollars it earned ♪ 89 00:06:21,728 --> 00:06:26,645 ♪ Never returning it to market circulation ♪ 90 00:07:00,311 --> 00:07:02,894 (upbeat music) 91 00:07:08,052 --> 00:07:11,930 ♪ Okay Cara ♪ 92 00:07:11,930 --> 00:07:14,263 ♪ Okay Cara ♪ 93 00:07:40,011 --> 00:07:43,892 ♪ Okay Cara ♪ 94 00:07:43,892 --> 00:07:46,225 ♪ Okay Cara ♪ 95 00:08:25,866 --> 00:08:27,054 - I like it, though. 96 00:08:27,054 --> 00:08:28,120 It's (indistinct). - Yeah, I like it too. 97 00:08:28,120 --> 00:08:29,610 I think it goes on for too long. 98 00:08:29,610 --> 00:08:31,930 So I think that once you get two bodies going out 99 00:08:31,930 --> 00:08:32,763 you just go, "Okay, so I know 100 00:08:32,763 --> 00:08:34,846 "what's gonna happen next and..." 101 00:08:34,846 --> 00:08:39,846 (frogs croaking) (celestial music) 102 00:08:40,856 --> 00:08:44,606 Yeah, do whatever you need to do there, good. 103 00:08:52,370 --> 00:08:53,700 Who goes? Do you go next? 104 00:08:53,700 --> 00:08:54,533 What's yours? 105 00:08:54,533 --> 00:08:56,380 Do you have an upright version? 106 00:08:56,380 --> 00:08:57,323 How do you begin? 107 00:09:04,830 --> 00:09:05,663 And show me. 108 00:09:07,976 --> 00:09:11,290 (celestial music) 109 00:09:11,290 --> 00:09:13,750 This is a process that is meant to be called 110 00:09:13,750 --> 00:09:16,653 Fourteen Days, a chronological thing. 111 00:09:17,850 --> 00:09:18,920 Take your time there. 112 00:09:18,920 --> 00:09:19,803 Take your time. 113 00:09:21,310 --> 00:09:26,060 Or is it an absolute crazy cocktail of ideas? 114 00:09:26,060 --> 00:09:30,720 Because the 14 days are 14 full days for the creator, 115 00:09:30,720 --> 00:09:31,820 for the choreographer, 116 00:09:35,290 --> 00:09:38,920 but it's not 14 full days for the people that need to digest 117 00:09:38,920 --> 00:09:40,220 what I'm gonna bring in. 118 00:09:40,220 --> 00:09:42,513 So I live with that for 14 days. 119 00:09:44,020 --> 00:09:45,420 Don't take, don't, don't, don't. 120 00:09:45,420 --> 00:09:46,911 Yeah, just leave it there. 121 00:09:46,911 --> 00:09:51,010 It's passing through a very distinctive blender. 122 00:09:51,010 --> 00:09:52,503 Okay, let's have lunch. 123 00:09:54,572 --> 00:09:58,405 (celestial music intensifies) 124 00:10:43,052 --> 00:10:46,799 ♪ Whacked, I've been zapped, freed out for the future ♪ 125 00:10:46,799 --> 00:10:51,108 ♪ Dumb-sized, naturalized, freed out for the future ♪ 126 00:10:51,108 --> 00:10:54,108 (crickets chirping) 127 00:11:02,948 --> 00:11:06,737 ♪ The crew got the boot, freed out for the future ♪ 128 00:11:06,737 --> 00:11:08,732 ♪ Pink slipped, I've been stripped ♪ 129 00:11:08,732 --> 00:11:11,215 ♪ I am freed out for the future ♪ 130 00:11:11,215 --> 00:11:14,215 (crickets chirping) 131 00:11:23,255 --> 00:11:28,255 (celestial music) (frogs croaking) 132 00:13:44,283 --> 00:13:49,283 ♪ The day Contrapposto ♪ 133 00:13:49,883 --> 00:13:53,216 ♪ The city Contrapposto ♪ 134 00:13:57,032 --> 00:13:58,030 - In a way that's where it came from 135 00:13:58,030 --> 00:14:01,630 this whole choreography, whether are we human 136 00:14:01,630 --> 00:14:04,430 or in what way are we still animals? 137 00:14:04,430 --> 00:14:08,350 And why shouldn't we be animals anymore? 138 00:14:08,350 --> 00:14:11,090 Or what makes us so special being humans? 139 00:14:11,090 --> 00:14:13,153 I think it's an interesting question. 140 00:14:15,210 --> 00:14:17,100 Now we're trying to apply that to the body. 141 00:14:17,100 --> 00:14:19,090 How can the body also be in conflict? 142 00:14:19,090 --> 00:14:19,923 And 143 00:14:21,661 --> 00:14:26,661 yeah. (upbeat music) 144 00:16:06,942 --> 00:16:09,525 (gentle music) 145 00:17:37,890 --> 00:17:39,690 We've been for a whole week 146 00:17:39,690 --> 00:17:43,180 exploring different kinds of animals. 147 00:17:43,180 --> 00:17:47,876 What it is this animal, human, what do we share? 148 00:17:47,876 --> 00:17:50,913 What can we understand from them? 149 00:17:56,390 --> 00:17:58,020 Yeah, careful here. 150 00:17:58,020 --> 00:18:02,680 And we developed what bears a lot of contact. 151 00:18:02,680 --> 00:18:05,450 We had reptiles. 152 00:18:05,450 --> 00:18:07,723 We had horses. 153 00:18:09,440 --> 00:18:11,470 The horses has been the one more interesting. 154 00:18:11,470 --> 00:18:13,020 Somehow it makes a lot of sense 155 00:18:13,020 --> 00:18:15,200 with the BalletBoyz as well, I think. 156 00:18:15,200 --> 00:18:17,410 We're gonna make a script. 157 00:18:17,410 --> 00:18:19,990 So in the next four days, we're gonna go through 158 00:18:19,990 --> 00:18:22,030 all the possibilities of these variations, 159 00:18:22,030 --> 00:18:23,230 what we have so far. 160 00:18:23,230 --> 00:18:26,623 And I'm gonna leave you with that schedule, yeah? 161 00:18:27,930 --> 00:18:31,270 Let's eat fish, that was a good thing from Mark, 162 00:18:31,270 --> 00:18:33,160 so our brains can function properly 163 00:18:33,160 --> 00:18:35,900 and we can memorize this idea. 164 00:18:35,900 --> 00:18:37,440 But also what we were saying before, 165 00:18:37,440 --> 00:18:39,730 let's focus on the qualities, yeah? 166 00:18:39,730 --> 00:18:42,910 And then eventually interpretation will come in. 167 00:18:42,910 --> 00:18:44,870 What is this choreography? 168 00:18:44,870 --> 00:18:46,710 Yeah, we talked about that idea also the other day. 169 00:18:46,710 --> 00:18:48,600 I think that's interesting. 170 00:18:48,600 --> 00:18:49,790 And let's go. 171 00:18:49,790 --> 00:18:51,880 You're okay with it? Yeah? 172 00:18:51,880 --> 00:18:53,193 Good, good, okay. 173 00:18:55,040 --> 00:18:57,467 And there we go, oh my God (laughing). 174 00:18:59,780 --> 00:19:02,210 - [Michael] Is that like breaking bad news to them? 175 00:19:02,210 --> 00:19:03,870 - Yeah, we have good news and bad news. 176 00:19:03,870 --> 00:19:07,460 Good news is that we know what the piece is gonna be like. 177 00:19:07,460 --> 00:19:09,320 And we have bad news, which is 178 00:19:09,320 --> 00:19:12,880 we chose the most challenging option, 179 00:19:12,880 --> 00:19:14,373 but that's creative process. 180 00:19:15,260 --> 00:19:20,260 And I think we can get somewhere interesting, refreshing. 181 00:19:21,760 --> 00:19:22,593 We'll see. 182 00:19:22,593 --> 00:19:25,250 I'm gonna need the help of everybody (laughing), 183 00:19:25,250 --> 00:19:27,114 but we'll make it, we'll make it. 184 00:19:27,114 --> 00:19:28,697 Thanks. - Thank you. 185 00:19:33,054 --> 00:19:35,637 (upbeat music) 186 00:20:25,051 --> 00:20:27,634 (gentle music) 187 00:20:32,444 --> 00:20:35,861 (upbeat music continues) 188 00:21:28,670 --> 00:21:29,907 - Okay, fine, fine, let's stop there, let's stop there. 189 00:21:29,907 --> 00:21:30,963 Beautiful, beautiful, beautiful. 190 00:21:30,963 --> 00:21:32,920 Very good, very good. - Yeah. 191 00:21:32,920 --> 00:21:34,607 - Yeah so this is the approach. 192 00:21:34,607 --> 00:21:36,450 - I think we just have to keep going back. 193 00:21:36,450 --> 00:21:39,700 - So many of those in-betweens or the tensions, the pulls. 194 00:21:39,700 --> 00:21:41,410 So they're really focused- (Michael speaks indistinctly) 195 00:21:41,410 --> 00:21:45,320 subtleties, nuances, but also that they have their focuses 196 00:21:45,320 --> 00:21:48,370 in each moment in its work in its detail. 197 00:21:48,370 --> 00:21:50,787 So it's not thinking, "Oh my God, this is heavy. 198 00:21:50,787 --> 00:21:51,700 "Oh my God, this is long." 199 00:21:51,700 --> 00:21:54,753 No, to keep digging into that detail. 200 00:21:57,030 --> 00:21:58,430 Let's see how they're doing. 201 00:21:59,880 --> 00:22:01,839 Yeah, let's try one more time. 202 00:22:01,839 --> 00:22:04,672 (celestial music) 203 00:22:12,557 --> 00:22:13,810 Okay, stop. 204 00:22:13,810 --> 00:22:17,900 I feel like we're not really falling on the music. 205 00:22:17,900 --> 00:22:21,700 It feels like we're a little bit late or which can... 206 00:22:22,690 --> 00:22:27,690 Because it kind of goes one, two, boom, boom, boom, boom. 207 00:22:27,976 --> 00:22:31,790 Each step could be falling on that note, right? 208 00:22:31,790 --> 00:22:33,477 Can we try to anticipate 209 00:22:33,477 --> 00:22:36,168 and really follow the weight of those- 210 00:22:36,168 --> 00:22:38,007 - Yeah, you're just slightly late. 211 00:22:38,007 --> 00:22:41,590 - Yeah, let's see if we can hear a bit more 212 00:22:42,805 --> 00:22:44,055 that very even. 213 00:22:45,195 --> 00:22:48,612 (upbeat celestial music) 214 00:22:51,443 --> 00:22:55,026 (upbeat music intensifies) 215 00:25:12,390 --> 00:25:13,330 Shall we stop? 216 00:25:13,330 --> 00:25:14,990 Shall we stop? 217 00:25:14,990 --> 00:25:15,970 Good, good, good guys. 218 00:25:15,970 --> 00:25:16,910 Nice, much better. 219 00:25:16,910 --> 00:25:19,300 Yeah, these dynamics really work. 220 00:25:19,300 --> 00:25:21,630 This is almost like a little bit like an stampede. 221 00:25:21,630 --> 00:25:24,370 This is the moment where you go towards us. 222 00:25:24,370 --> 00:25:28,440 Yeah, so this idea of now you go towards us. 223 00:25:28,440 --> 00:25:29,860 Yeah, so we want to be almost 224 00:25:29,860 --> 00:25:31,580 slightly intimidated by you now. 225 00:25:31,580 --> 00:25:32,413 Yes, exactly. 226 00:25:32,413 --> 00:25:35,900 So this idea of focus, of tunnel vision. 227 00:25:35,900 --> 00:25:37,710 Yeah, let's see if we can bring that as well. 228 00:25:37,710 --> 00:25:40,143 Like this whole thing is really forward. 229 00:25:41,000 --> 00:25:42,220 Yeah, let's try with that quality. 230 00:25:42,220 --> 00:25:43,282 Can we try with music? 231 00:25:43,282 --> 00:25:45,865 (upbeat music) 232 00:26:22,458 --> 00:26:26,208 (upbeat music slowly fading) 233 00:26:27,070 --> 00:26:29,740 One, two, three, four, five. 234 00:26:29,740 --> 00:26:31,740 One, two, three, four. 235 00:26:31,740 --> 00:26:33,690 One, two, three, four. 236 00:26:33,690 --> 00:26:35,880 One, two, three, four. 237 00:26:35,880 --> 00:26:38,633 One, two, three, four, five. 238 00:26:43,010 --> 00:26:44,020 Like that? - Yeah. 239 00:26:44,020 --> 00:26:45,010 - And equals 240 00:26:46,180 --> 00:26:48,053 one, two, three. - Two, three. 241 00:26:48,053 --> 00:26:50,320 One, two, three, brush, brush. 242 00:26:50,320 --> 00:26:52,683 - Okay, one, two, three. 243 00:26:54,430 --> 00:26:55,634 - Brush times two. 244 00:26:55,634 --> 00:26:57,350 - Brush two. 245 00:26:57,350 --> 00:26:58,183 - [Choreographer] Yeah. 246 00:26:58,183 --> 00:27:00,270 - Yeah and then one full round. 247 00:27:00,270 --> 00:27:03,340 One, two, three, four, five. 248 00:27:03,340 --> 00:27:06,100 Turn, one, two, two, ha. 249 00:27:06,100 --> 00:27:08,180 One, two, three, ha. 250 00:27:08,180 --> 00:27:10,230 One, two, three, ha. 251 00:27:10,230 --> 00:27:12,210 One, two, three, ha. 252 00:27:12,210 --> 00:27:14,740 One, two, three, four, five. 253 00:27:14,740 --> 00:27:18,163 One, two, three, four, five, ha. 254 00:27:21,240 --> 00:27:23,225 So I don't know why I'm counting on fives. 255 00:27:23,225 --> 00:27:26,050 (BalletBoyz laughing) 256 00:27:26,050 --> 00:27:28,180 But, ah, because we have one, two, three, four, five. 257 00:27:28,180 --> 00:27:29,960 Okay, but because... 258 00:27:29,960 --> 00:27:31,098 Okay. 259 00:27:31,098 --> 00:27:32,943 - [Choreographer] One, two, three, four. 260 00:27:32,943 --> 00:27:35,250 One, two, three, four, five. 261 00:27:35,250 --> 00:27:36,333 One, two, down- - One, two, 262 00:27:36,333 --> 00:27:37,849 three, four, five. - three, four, five, one. 263 00:27:37,849 --> 00:27:40,083 One, two, three, four. - Five. 264 00:27:40,083 --> 00:27:42,188 One, two, three, four. - One, two, three, four. 265 00:27:42,188 --> 00:27:44,137 One, two, three, four. 266 00:27:44,137 --> 00:27:45,970 One, two, three, four. 267 00:27:51,380 --> 00:27:53,360 - [Ivan] But this can work, this can really work. 268 00:27:53,360 --> 00:27:54,530 Yeah, this can really work. 269 00:27:54,530 --> 00:27:55,363 Okay, nice. 270 00:27:59,400 --> 00:28:00,463 - [Choreographer] That's it. 271 00:28:03,430 --> 00:28:05,777 This is nice 'cause it takes them in the air. 272 00:28:06,720 --> 00:28:08,403 Yeah, how did you do them, three? 273 00:28:10,740 --> 00:28:12,600 - Good guys, good guys. 274 00:28:12,600 --> 00:28:13,805 They're gonna die. 275 00:28:13,805 --> 00:28:14,650 - They are. - Yeah. 276 00:28:14,650 --> 00:28:16,487 - [Choreographer] A bit of massage on the legs tomorrow, 277 00:28:16,487 --> 00:28:21,487 I think. (upbeat music) 278 00:30:18,643 --> 00:30:21,226 (gentle music) 279 00:30:32,290 --> 00:30:33,570 - The music, the beginning of the music 280 00:30:33,570 --> 00:30:36,350 is impossible to count, so I'm not even gonna try. 281 00:30:36,350 --> 00:30:37,370 We'll just let it happen. 282 00:30:37,370 --> 00:30:40,440 And then about, I'd say about two minutes in 283 00:30:40,440 --> 00:30:42,110 it starts to pick up a rhythm 284 00:30:42,110 --> 00:30:44,700 and then it's just pretty much straight eighths through. 285 00:30:44,700 --> 00:30:47,210 So, but the first two minutes I've been, 286 00:30:47,210 --> 00:30:50,770 I spent like two flights going trying to find the one. 287 00:30:50,770 --> 00:30:51,893 Just couldn't find it, so I think, 288 00:30:51,893 --> 00:30:54,810 I figure it's better we just do something and then... 289 00:30:54,810 --> 00:30:58,600 So whatever, however we get there, let's start with 290 00:31:00,310 --> 00:31:01,720 Bradley facing front 291 00:31:03,740 --> 00:31:05,060 and 292 00:31:08,020 --> 00:31:12,223 let's have you just, yeah, side on should be fine. 293 00:31:13,890 --> 00:31:15,715 We'll be done by 1:30. 294 00:31:15,715 --> 00:31:16,548 - [Man] Huh? 295 00:31:16,548 --> 00:31:18,280 - I said we'll be finished by 1:30 (laughing). 296 00:31:20,120 --> 00:31:22,300 Maybe just come downstairs a little bit, 297 00:31:22,300 --> 00:31:25,110 just downstage a little bit, that's good, yeah. 298 00:31:25,110 --> 00:31:28,060 Actually, you wanna be shoulder, shoulder to shoulder. 299 00:31:28,060 --> 00:31:28,893 That's good. 300 00:31:36,173 --> 00:31:37,630 Let's just have... 301 00:31:40,030 --> 00:31:43,450 Bradley, let's just have you just reach across 302 00:31:43,450 --> 00:31:46,453 and Jordan, can you, 303 00:31:48,840 --> 00:31:49,743 can you just, 304 00:31:51,630 --> 00:31:53,600 just pull this arm back 305 00:31:53,600 --> 00:31:55,350 and just touch fingertip to fingertip? 306 00:31:55,350 --> 00:31:57,690 And when you touch fingertip to fingertip 307 00:31:57,690 --> 00:31:58,523 is there any way... 308 00:31:58,523 --> 00:32:00,780 It's gonna be hard I think across the body. 309 00:32:00,780 --> 00:32:03,750 Is there any way for that connection 310 00:32:03,750 --> 00:32:07,683 to just to kind of send a ripple out through your bodies? 311 00:32:08,730 --> 00:32:10,253 Yeah. Yeah. 312 00:32:11,280 --> 00:32:12,113 Try again. 313 00:32:14,350 --> 00:32:17,700 And then just come back to where you were. 314 00:32:17,700 --> 00:32:19,220 Oh, I'm gonna enjoy this. 315 00:32:19,220 --> 00:32:20,381 - Good. - I'm gonna like this. 316 00:32:20,381 --> 00:32:23,042 (Jordan and Bradley laughing) 317 00:32:23,042 --> 00:32:24,470 It's gonna be good. - Good. 318 00:32:24,470 --> 00:32:25,303 - One more time. 319 00:32:26,789 --> 00:32:29,622 (celestial music) 320 00:33:55,240 --> 00:33:58,430 You don't really ever quite know what to expect on day one. 321 00:33:58,430 --> 00:34:03,430 I certainly didn't come into the room with much of a map, 322 00:34:04,570 --> 00:34:07,290 only the music and these guys, 323 00:34:07,290 --> 00:34:12,050 and yeah, just sort of started to 324 00:34:12,050 --> 00:34:14,193 play with some shapes, some ideas. 325 00:34:15,436 --> 00:34:16,970 I have a little bit of a 326 00:34:17,870 --> 00:34:19,970 narrative going on in the back of my head, 327 00:34:19,970 --> 00:34:24,460 but I'm not really being very explicit about 328 00:34:24,460 --> 00:34:26,860 how that's gonna unfold at this point. 329 00:34:26,860 --> 00:34:30,090 And is there any way... 330 00:34:33,660 --> 00:34:37,180 Can we actually both come around almost to really slowly 331 00:34:37,180 --> 00:34:38,803 let Bradley sit back on his hip? 332 00:34:42,310 --> 00:34:44,560 Really slow, really slow. 333 00:34:44,560 --> 00:34:45,820 That's nice. 334 00:34:45,820 --> 00:34:47,520 All the... Oh, yeah. 335 00:34:47,520 --> 00:34:49,410 Straight upright first. 336 00:34:49,410 --> 00:34:50,243 Now the hands go. 337 00:34:50,243 --> 00:34:52,070 I kind of have an idea of the sort of 338 00:34:52,070 --> 00:34:54,773 through flow of the movement. 339 00:34:56,620 --> 00:35:01,540 Maybe the kind of energy and the kind of rhythm 340 00:35:01,540 --> 00:35:04,630 that I'm trying to create with them physically. 341 00:35:04,630 --> 00:35:06,250 Lovely, that's it? 342 00:35:06,250 --> 00:35:07,910 Yeah. Yeah. 343 00:35:07,910 --> 00:35:11,800 But a lot of it's kind of I give them an idea, 344 00:35:11,800 --> 00:35:14,550 they take it, they roll through it 345 00:35:14,550 --> 00:35:15,890 and fall into something else, 346 00:35:15,890 --> 00:35:17,220 and I'm like, "Well, that's good." 347 00:35:17,220 --> 00:35:19,710 So then I connect that with another idea. 348 00:35:19,710 --> 00:35:22,510 It's a little bit like a jigsaw really 349 00:35:22,510 --> 00:35:23,810 to kind of piecing each piece. 350 00:35:23,810 --> 00:35:26,890 So making the shape, cutting out the shape of the jigsaw 351 00:35:26,890 --> 00:35:29,720 and then finding the next shape for it to slot into. 352 00:35:29,720 --> 00:35:32,303 (gentle music) 353 00:36:43,944 --> 00:36:47,527 (gentle music intensifies) 354 00:37:15,770 --> 00:37:19,290 That's it, keep turning that's good. 355 00:37:19,290 --> 00:37:21,550 And then so actually come up, 356 00:37:21,550 --> 00:37:24,550 come up out of it at the end, Bradley, and then pull him up. 357 00:37:27,810 --> 00:37:30,070 If you can end up, if you can finish facing, 358 00:37:30,070 --> 00:37:32,120 so Bradley you're facing this way 359 00:37:32,120 --> 00:37:36,410 and Jordan you're facing this way, then I'll be happy. 360 00:37:36,410 --> 00:37:38,940 I mean, it's quite rare for me to get to work with dancers 361 00:37:38,940 --> 00:37:40,340 who have an understanding of 362 00:37:41,770 --> 00:37:45,090 a more kind of contemporary flow in their movement 363 00:37:45,090 --> 00:37:48,160 and how to use the floor, how to use each other's weight, 364 00:37:48,160 --> 00:37:51,600 how to use each other's balance to create weightlessness, 365 00:37:51,600 --> 00:37:56,110 to create elegant sort of sculptural shape. 366 00:37:56,110 --> 00:37:58,370 Actually, can you give him a little bit of a lift there 367 00:37:58,370 --> 00:38:00,100 with that side? 368 00:38:00,100 --> 00:38:02,539 So it's different for me and I love that. 369 00:38:02,539 --> 00:38:06,133 I love the challenge of working in a different way. 370 00:38:09,320 --> 00:38:12,720 And then stay connected with them if you can and pull him up 371 00:38:12,720 --> 00:38:14,240 and then just slide that foot in 372 00:38:14,240 --> 00:38:16,890 so that you're boom that way. 373 00:38:16,890 --> 00:38:17,813 Yeah. Good. 374 00:38:20,143 --> 00:38:23,643 (gentle orchestral music) 375 00:39:32,380 --> 00:39:33,313 Close. 376 00:39:36,540 --> 00:39:38,460 There's a nice change of... 377 00:39:38,460 --> 00:39:40,960 It's funny, now that I'm listening to it 378 00:39:40,960 --> 00:39:43,870 and seeing it with movement, it feels far more dynamic 379 00:39:43,870 --> 00:39:46,140 than it did when I was just sitting at home. 380 00:39:46,140 --> 00:39:47,430 Just from listening to the music 381 00:39:47,430 --> 00:39:49,433 I kind of have an idea of the sort of... 382 00:39:49,433 --> 00:39:52,200 Because it sort of feels like it's a piece in two parts. 383 00:39:52,200 --> 00:39:56,250 The first part's quite fluid, it's quite hard to find the... 384 00:39:56,250 --> 00:39:58,600 Usually, I'll count out 385 00:39:58,600 --> 00:40:00,993 and create a sort of structure of counts. 386 00:40:02,780 --> 00:40:06,140 And the first two minutes of this piece feel 387 00:40:06,140 --> 00:40:10,010 almost improvised, but as I'm choreographing, 388 00:40:10,010 --> 00:40:11,890 it happens a lot with me, as I'm choreographing it, 389 00:40:11,890 --> 00:40:15,493 I'm understanding more clearly the shape of those phrases. 390 00:40:16,760 --> 00:40:19,195 That's it. Nice. 391 00:40:19,195 --> 00:40:21,920 (gentle piano music) 392 00:40:21,920 --> 00:40:23,890 See if you can get that elbow really drop. 393 00:40:23,890 --> 00:40:26,653 So can you come around any further? 394 00:40:28,252 --> 00:40:30,040 (all laughing) 395 00:40:30,040 --> 00:40:32,850 Let's look at it from the full back that way first. 396 00:40:32,850 --> 00:40:35,480 If you could just kind of come up. 397 00:40:35,480 --> 00:40:37,163 It's very tender this music, 398 00:40:38,050 --> 00:40:41,760 and then it kinda starts to build, and as it builds, 399 00:40:41,760 --> 00:40:45,263 I imagine the choreography will kind of go with that. 400 00:40:46,321 --> 00:40:48,680 So I'm trying to sort of at this stage 401 00:40:50,060 --> 00:40:52,720 keep it kind of subtle in its suggestion 402 00:40:52,720 --> 00:40:54,510 of any kind of defined story 403 00:40:54,510 --> 00:40:57,130 and then see kind of where we get to by the end. 404 00:40:57,130 --> 00:40:58,340 That's better. 405 00:40:58,340 --> 00:40:59,340 So there's a bit of space. 406 00:40:59,340 --> 00:41:00,870 That's nice. 407 00:41:00,870 --> 00:41:04,570 I think in my head I had sort of pegged it as a sort of 408 00:41:05,430 --> 00:41:08,640 potentially like an expression of 409 00:41:10,620 --> 00:41:12,130 two men in a relationship 410 00:41:12,130 --> 00:41:15,800 without making it sort of overtly sexual or... 411 00:41:15,800 --> 00:41:18,450 But maybe it's not a loving relationship 412 00:41:18,450 --> 00:41:19,540 or maybe it's a loving friendship. 413 00:41:19,540 --> 00:41:21,536 I don't know yet. We'll see. 414 00:41:21,536 --> 00:41:25,036 (gentle orchestral music) 415 00:44:51,980 --> 00:44:54,440 - Okay, five, six, seven. 416 00:44:54,440 --> 00:44:59,340 And one, two, three, four, five, six, seven, eight. 417 00:44:59,340 --> 00:45:03,950 One, two, three, four, five, six, seven, eight. 418 00:45:03,950 --> 00:45:05,530 One, two, three. 419 00:45:05,530 --> 00:45:07,010 Okay, these ones are even. 420 00:45:07,010 --> 00:45:09,770 Also, there're some discrepancies on the timing 421 00:45:09,770 --> 00:45:14,770 on the one, two, three, four, five is grabbing the earth. 422 00:45:16,210 --> 00:45:20,750 Six is letting it go down as you do the turn 423 00:45:21,730 --> 00:45:22,970 while you're mining. 424 00:45:22,970 --> 00:45:25,053 They're miners, by the way, miners. 425 00:45:25,980 --> 00:45:29,490 My great-grandparents and everyone came from Ballarat, 426 00:45:29,490 --> 00:45:31,160 and of course they were gold miners. 427 00:45:31,160 --> 00:45:35,140 So I'm doing a piece sort of based on a rebellion 428 00:45:35,140 --> 00:45:37,650 of the Eureka Stockade, which was a small, 429 00:45:37,650 --> 00:45:40,030 but wild and violent battle. 430 00:45:40,030 --> 00:45:41,880 I thought it might be a really good idea 431 00:45:41,880 --> 00:45:45,130 to introduce the BalletBoyz to that 432 00:45:45,130 --> 00:45:47,581 and try and tell a bit of that story. 433 00:45:47,581 --> 00:45:50,560 So after you've done seven counts 434 00:45:50,560 --> 00:45:53,140 and then you've done your hit on one, 435 00:45:53,140 --> 00:45:54,790 go immediately into it, 436 00:45:54,790 --> 00:45:57,380 and let's just see where we go from there, 437 00:45:57,380 --> 00:45:59,780 because I would love it to complete the line, 438 00:45:59,780 --> 00:46:03,093 so we build this barricade up. 439 00:46:04,416 --> 00:46:06,770 A fence holding back soldiers 440 00:46:06,770 --> 00:46:08,030 is what you should be thinking. 441 00:46:08,030 --> 00:46:12,220 One, two, three, four, lift, six, seven, eight. 442 00:46:12,220 --> 00:46:16,600 One, two, three, four, five, six, seven, eight. 443 00:46:16,600 --> 00:46:21,583 One, two, three, four, five, six, seven, eight, one. 444 00:46:22,950 --> 00:46:26,020 Okay, here they are, the BalletBoyz. 445 00:46:26,020 --> 00:46:27,123 From the top, please. 446 00:46:29,253 --> 00:46:30,086 Okay. 447 00:46:34,662 --> 00:46:37,245 (upbeat music) 448 00:48:07,200 --> 00:48:10,867 (upbeat music intensifies) 449 00:49:30,179 --> 00:49:35,179 (upbeat undulating music) (dancer clogging) 450 00:49:41,389 --> 00:49:43,389 Good. Stop there. 451 00:49:43,389 --> 00:49:44,920 Let's go back. 452 00:49:44,920 --> 00:49:46,073 Well done, gentlemen. 453 00:49:47,070 --> 00:49:49,013 The timing is getting better, isn't it? 454 00:49:51,480 --> 00:49:54,520 Let's do it from your entrance, gentlemen. 455 00:49:54,520 --> 00:49:56,210 I'll give you a whole six in. 456 00:49:56,210 --> 00:49:59,886 One, two, three, four, five and six. 457 00:49:59,886 --> 00:50:03,969 (dancers clogging synchronously) 458 00:50:10,794 --> 00:50:13,127 Two, three, four, and a one. 459 00:50:15,863 --> 00:50:19,363 (upbeat undulating music) 460 00:51:09,206 --> 00:51:12,373 (BalletBoyz shouting) 461 00:52:10,067 --> 00:52:12,217 One, two, three and a four, and a five, and a six. 462 00:52:12,217 --> 00:52:14,600 Well, the movement is developed through what you would do 463 00:52:14,600 --> 00:52:18,617 if you were gold panning in the 1850s really. 464 00:52:20,180 --> 00:52:24,470 And of course, my second time great-grandfather, 465 00:52:24,470 --> 00:52:27,980 great-great-grandfather was a clog dancer, 466 00:52:27,980 --> 00:52:31,920 a champion clog dancer of 1871. 467 00:52:31,920 --> 00:52:33,540 Okay, good. 468 00:52:33,540 --> 00:52:35,400 Good, let's go round in circle. 469 00:52:35,400 --> 00:52:40,027 So I've decided to get myself a pair of clogs, darling. 470 00:52:40,027 --> 00:52:43,810 (choreographer chuckles) 471 00:52:43,810 --> 00:52:44,760 A pair of clogs. 472 00:52:44,760 --> 00:52:48,940 And we had the clogs made for all the BalletBoyz 473 00:52:48,940 --> 00:52:51,300 to try and do stuff in, and here they are. 474 00:52:51,300 --> 00:52:52,133 Seven, eight. 475 00:52:52,133 --> 00:52:55,593 Okay, good, let's start that again with the vocals as well. 476 00:52:58,462 --> 00:52:59,312 Five, six, seven, 477 00:53:00,251 --> 00:53:03,459 and one, two, three, four (BalletBoyz shouting) 478 00:53:03,459 --> 00:53:05,790 five, six, seven, eight. 479 00:53:05,790 --> 00:53:08,540 One, two, three, four, five, six. 480 00:53:10,317 --> 00:53:12,350 And they were also charged taxes, 481 00:53:12,350 --> 00:53:17,040 so of course everybody clubbed together in their thousands. 482 00:53:17,040 --> 00:53:20,453 I mean, there was a meeting in Ballarat of 10,000 men. 483 00:53:23,920 --> 00:53:26,970 And of course this was the battle of Eureka Stockade 484 00:53:26,970 --> 00:53:28,050 that we're trying to recreate 485 00:53:28,050 --> 00:53:30,630 which does unfortunately end in 486 00:53:32,356 --> 00:53:37,356 27 miners just being killed liberally within 10 minutes. 487 00:53:37,394 --> 00:53:40,561 (BalletBoyz clogging) 488 00:53:47,013 --> 00:53:49,596 (upbeat music) 489 00:54:15,531 --> 00:54:16,470 - [Choreographer] From the beginning of it. 490 00:54:16,470 --> 00:54:18,010 - Yeah. 491 00:54:18,010 --> 00:54:22,130 So this is in the silence and you try and land for blum 492 00:54:22,130 --> 00:54:24,223 and nothing, nothing, 493 00:54:26,272 --> 00:54:29,620 ♪ Da-da, da-dum ♪ 494 00:54:29,620 --> 00:54:30,733 coming to center. 495 00:54:36,350 --> 00:54:38,810 So do right, so start with your right foot 496 00:54:38,810 --> 00:54:42,230 and just do a basic step, side, 497 00:54:42,230 --> 00:54:45,330 close, back, side, 498 00:54:45,330 --> 00:54:48,710 close, step, side, 499 00:54:48,710 --> 00:54:51,260 close, back. 500 00:54:51,260 --> 00:54:53,593 It should be sort of a Danse Macabre. 501 00:54:55,920 --> 00:54:56,933 Yeah? - Yeah. 502 00:54:58,990 --> 00:55:00,715 - Do you wanna try it with his body? 503 00:55:00,715 --> 00:55:03,382 (upbeat music) 504 00:55:07,287 --> 00:55:10,204 (orchestral music) 505 00:56:43,612 --> 00:56:46,195 (upbeat music) 506 00:58:35,740 --> 00:58:36,730 Very good. 507 00:58:36,730 --> 00:58:37,650 Excellent work. 508 00:58:37,650 --> 00:58:38,897 Thank you, gentleman. 509 00:58:38,897 --> 00:58:40,470 - Thank you. - Thank you all. 510 00:58:40,470 --> 00:58:45,311 - Whoo! (BalletBoyz clapping) 511 00:58:45,311 --> 00:58:48,394 - [Christopher] See you in September.