WEBVTT

1
00:00:06.360 --> 00:00:09.840
I think you better get her here.

2
00:00:10.320 --> 00:00:14.120
After he's put her down, then you can get this leg thing happening here, which is nice.

3
00:00:14.300 --> 00:00:18.460
Because what happens is he steps over, after he puts her down, he steps over and then she'll like push through.

4
00:00:18.540 --> 00:00:21.600
And then he has her back here, then you see her down here.

5
00:00:21.840 --> 00:00:26.200
Then you watch here, because what you want to see right here is you want to see this hand on her shoulder.

6
00:00:26.200 --> 00:00:29.100
And then you want to see her transfer off to get her down there.

7
00:00:29.840 --> 00:00:31.620
I understand a thing you said, but what's wrong?

8
00:01:03.340 --> 00:01:07.080
Television is about two things, the rectangle and the dollar.

9
00:01:08.620 --> 00:01:08.880
Okay.

10
00:01:09.320 --> 00:01:12.380
Would you do one more, just that last one, one more time?

11
00:01:12.660 --> 00:01:13.360
Do you like that one?

12
00:01:13.440 --> 00:01:13.960
It's alright.

13
00:01:14.420 --> 00:01:16.140
It's alright, I'm going to stop and look at these.

14
00:01:16.220 --> 00:01:17.080
Okay, how you feel?

15
00:01:24.480 --> 00:01:28.660
Five, four, three, two, one.

16
00:01:28.840 --> 00:01:37.460
One, two, three, two, two, three, three, two, three, two, three, five, three, six, two, one.

17
00:01:37.600 --> 00:01:40.540
Late in 68, I got my first half inch video system.

18
00:01:40.560 --> 00:01:43.880
I was completely romantic and sentimental about television.

19
00:01:43.880 --> 00:01:50.480
I think this is probably true of a whole generation of people whose fathers brought home TV sets when they were nine or ten.

20
00:01:50.820 --> 00:01:58.880
Six, two, one, two, three, four, five, six, seven, eight, nine, ten, one, two, three, two.

21
00:01:59.540 --> 00:02:04.360
While television no longer holds such mystery for me, I still have great respect for it.

22
00:02:04.420 --> 00:02:08.780
And I wanted to make something that would be at least as much television as it was dance.

23
00:02:08.780 --> 00:02:22.960
Two, one, two, three, four, one, two, three, two, three, one, and one, and one, one, one, one, one, up.

24
00:02:26.720 --> 00:02:33.440
Early in 1976, Channel 13 offered me the opportunity to create dance that would work as television.

25
00:02:33.440 --> 00:02:39.240
A commission to investigate the relationship between various television technologies and dance.

26
00:02:42.720 --> 00:02:45.600
Being completely naive, I wanted to start off with everything.

27
00:02:46.100 --> 00:02:49.840
And the electronic wizardries of television made much too much seem possible.

28
00:02:50.440 --> 00:02:54.820
With director Don Misher, I set out to define boundaries and arrive at a beginning.

29
00:02:54.820 --> 00:02:56.560
Do you want to see some of the things?

30
00:02:56.680 --> 00:02:59.680
No, wait, I have to remember what all we've done here.

31
00:03:00.560 --> 00:03:06.620
He can do 180 degrees, he can do 360 degrees, he can do a single flat plane.

32
00:03:08.880 --> 00:03:11.060
The machine's mysteries started to wear off.

33
00:03:11.360 --> 00:03:13.780
The synthesizers and generators lost their glamour.

34
00:03:14.040 --> 00:03:20.940
And bit by bit, my childhood primitive feeling that somewhere within its little wires, television had a life all its own disappeared.

35
00:03:21.940 --> 00:03:23.540
This is making me sick.

36
00:03:24.760 --> 00:03:36.340
Suddenly television was only an empty rectangle, not quite square, but close enough to suggest that the traditional American square dance be abstracted into an electronic exercise,

37
00:03:36.820 --> 00:03:43.180
paired down for only one flat figure dancing all eight parts in the barest possible television space.

38
00:03:43.180 --> 00:03:50.980
So the first, we'll just take it step by step, the first thing, getting the eight voices with the locked down camera on these marks recorded.

39
00:03:51.800 --> 00:03:52.960
One, two, three.

40
00:03:52.960 --> 00:03:58.480
There was the downstage to camera vertical right voice, the downstage to camera vertical left.

41
00:03:58.900 --> 00:04:08.760
They were joined by the upstage to camera horizontal right voice, then the downstage to camera horizontal left came on, and more and more and more.

42
00:04:08.760 --> 00:04:13.680
Editing possibilities made hay with the classic Baroque concept of canon.

43
00:04:13.680 --> 00:04:20.860
One, two, three, four, five, six, seven, eight, nine, ten.

44
00:04:20.860 --> 00:04:31.880
One, two, three, four, five, six, seven, eight, nine, ten.

45
00:04:31.880 --> 00:04:42.140
One, two, three, four, five, six, seven, eight, nine, ten.

46
00:04:42.140 --> 00:04:52.340
And that was our simple beginning, a single phrase recorded and overdubbed eight times in TV no space.

47
00:04:53.780 --> 00:04:57.840
I decided to mix in a little more information, and so we added place.

48
00:04:57.840 --> 00:05:01.220
I wanted to use rehearsal studios as settings.

49
00:05:02.000 --> 00:05:06.780
More than place, rehearsal studios represent time to me, periods in my life.

50
00:05:07.560 --> 00:05:13.980
This studio on Great Jones Street was one of my first and is located just off the Bowery in an alienated area.

51
00:05:14.880 --> 00:05:21.060
The people who live here are mostly outcasts, poor people who can afford little else who have few choices.

52
00:05:21.660 --> 00:05:23.840
That's how I felt when I worked here.

53
00:05:23.840 --> 00:05:28.560
That was a time in my life when this was my attitude towards the work I did.

54
00:05:29.100 --> 00:05:30.620
Can't believe how tiny it is.

55
00:05:34.020 --> 00:05:36.160
I've been here so long I couldn't find it.

56
00:05:36.900 --> 00:05:40.380
It's a year wide. I think it's nice.

57
00:05:43.640 --> 00:05:45.820
The only thing is it really cuts her in half.

58
00:05:47.160 --> 00:05:49.040
Let's make sure that Don's done.

59
00:05:49.280 --> 00:05:51.200
I shouldn't participate as much as I should.

60
00:05:51.200 --> 00:05:51.900
No, I know why.

61
00:05:51.900 --> 00:05:54.760
The costumes look too formal.

62
00:05:54.860 --> 00:05:59.960
I had in mind the kind of rehearsal clothes that you rehearsed in, but more color coordinated.

63
00:06:00.540 --> 00:06:03.780
Not that, but more of a lighter color.

64
00:06:04.140 --> 00:06:05.500
She looks terrific in this.

65
00:06:07.600 --> 00:06:11.040
It's going to look good against this background if we use it.

66
00:06:11.760 --> 00:06:14.760
Tyler says elegant, he says more casual.

67
00:06:15.420 --> 00:06:18.940
I didn't know this was very charismatic, but I wouldn't have gotten involved.

68
00:06:19.100 --> 00:06:19.620
You know what I mean?

69
00:06:19.620 --> 00:06:20.300
There you go.

70
00:06:23.140 --> 00:06:24.760
Shelly loves to show off.

71
00:06:25.140 --> 00:06:27.820
She's a flirtatious performer, warm and outgoing.

72
00:06:28.300 --> 00:06:33.000
Her physicality sometimes asserts itself and her body seems to take off of its own accord.

73
00:06:33.540 --> 00:06:36.480
This is a physical courage shared by all big jumpers.

74
00:06:36.680 --> 00:06:37.820
She's out. You're out, Shelly.

75
00:06:38.360 --> 00:06:42.900
Next time you try it, why don't you come over here and why don't you be...

76
00:06:42.900 --> 00:06:44.540
Do you have a pair of keys?

77
00:06:44.540 --> 00:06:48.300
You like to show off, you like to walk, you like to do your own thing.

78
00:06:48.940 --> 00:06:51.760
When you see them, you start getting something in there and then you start out.

79
00:06:52.200 --> 00:06:55.160
Now get up and move to the right and pan with her, Walter.

80
00:06:55.200 --> 00:06:56.260
Move her a little bit.

81
00:06:56.940 --> 00:06:59.500
Starting even further over left, what's that look like?

82
00:06:59.900 --> 00:07:01.400
Yeah, pan over to the left.

83
00:07:02.520 --> 00:07:05.300
This red cross box I remember from the old days.

84
00:07:15.900 --> 00:07:19.440
Studios are sacred ground, kept hidden from the uninitiated.

85
00:07:19.900 --> 00:07:23.480
They are for the ritual of passage a student makes in becoming a performer.

86
00:07:24.320 --> 00:07:28.840
As a token of this feeling, I designed four etudes for four of my dancers,

87
00:07:29.200 --> 00:07:31.080
celebrating several aspects of work.

88
00:07:31.480 --> 00:07:35.360
Video technology was called upon to expand the problem of each etude.

89
00:07:35.860 --> 00:07:36.980
Shelly's is speed.

90
00:08:00.240 --> 00:08:01.640
Shelly.

91
00:08:32.340 --> 00:08:34.400
Did you hear the siren and all that coming through?

92
00:08:34.940 --> 00:08:37.600
It's incredible how it kind of worked with what was happening up here.

93
00:08:37.780 --> 00:08:38.040
Okay.

94
00:08:38.260 --> 00:08:38.620
Yes.

95
00:08:38.900 --> 00:08:40.960
Let's take a look at that, we'll play it back.

96
00:08:41.040 --> 00:08:43.380
If that's good, I don't see any reason for doing it again.

97
00:08:44.160 --> 00:08:44.520
Okay.

98
00:08:44.520 --> 00:08:44.520


99
00:08:44.520 --> 00:08:44.520


100
00:08:44.520 --> 00:08:44.520


101
00:08:44.520 --> 00:08:44.520


102
00:08:44.520 --> 00:08:44.520


103
00:08:44.520 --> 00:08:44.520


104
00:08:44.520 --> 00:08:44.520


105
00:08:44.520 --> 00:08:44.520


106
00:08:44.520 --> 00:08:44.520


107
00:08:44.520 --> 00:08:44.520


108
00:08:44.520 --> 00:08:44.520


109
00:08:44.520 --> 00:08:44.520


110
00:08:51.140 --> 00:08:52.660
This is Franklin Street.

111
00:08:53.980 --> 00:08:58.580
There are 79 steps, including landings, from the ground floor to the fourth floor

112
00:08:58.580 --> 00:09:01.160
where I have had a studio for the last 14 years.

113
00:09:01.740 --> 00:09:04.020
Every day as I come here to work, I count the steps,

114
00:09:04.200 --> 00:09:07.220
and along the way know a little more as to how I will fare that day.

115
00:09:07.900 --> 00:09:10.920
I like Franklin Street because it's in an industrial neighborhood.

116
00:09:11.320 --> 00:09:14.500
It looks poor, but unlike the Bowery, it's a place where people work.

117
00:09:14.500 --> 00:09:14.500


118
00:09:15.340 --> 00:09:18.040
They're unloading cloth, selling things wholesale.

119
00:09:18.600 --> 00:09:21.500
It's a part of society, and there's always activity.

120
00:09:37.880 --> 00:09:40.500
Repetition is the first principle of rehearsal.

121
00:09:41.320 --> 00:09:44.960
Traditionally, an atude commemorating endurance should be assigned to a man.

122
00:09:45.260 --> 00:09:46.980
Tom Raw understands work.

123
00:09:50.520 --> 00:09:54.840
You will repeat something over and over, analyzing, picking and pulling it all apart,

124
00:09:55.300 --> 00:09:58.920
and then reassemble to pieces, now having it mastered to the point,

125
00:09:58.960 --> 00:10:01.400
should he wish, of exact duplication.

126
00:10:02.540 --> 00:10:07.140
When one tries to develop oneself as a performer or as an artist of any kind,

127
00:10:07.240 --> 00:10:08.560
you are in a competition.

128
00:10:08.560 --> 00:10:12.260
You are in a competition with the best you know that has proceeded,

129
00:10:12.280 --> 00:10:14.660
and if you are serious, you want to do a little better.

130
00:10:15.340 --> 00:10:16.480
It is an experiment.

131
00:10:17.140 --> 00:10:21.680
Sometimes I want to find physical boundaries exactly the way an athlete or scientist

132
00:10:21.680 --> 00:10:24.180
wants to explore what is physically possible.

133
00:10:24.780 --> 00:10:26.640
How high can somebody jump?

134
00:10:27.140 --> 00:10:28.540
How long can they go?

135
00:10:28.960 --> 00:10:31.040
How fast is humanly possible?

136
00:10:43.360 --> 00:10:47.120
The last two studios are in the big time, uptown.

137
00:10:53.060 --> 00:10:55.060
While you're warming up, I'm going to stand in for you.

138
00:10:55.080 --> 00:10:56.680
So you do this little thing, you do little.

139
00:10:56.780 --> 00:10:58.300
I just need your little and big points.

140
00:10:58.480 --> 00:10:59.360
Wait a minute, wait a minute, it starts beginning.

141
00:10:59.540 --> 00:11:00.440
You do little, little, little.

142
00:11:00.640 --> 00:11:02.340
Oh, you start out big. Oh, shit.

143
00:11:02.840 --> 00:11:04.500
First thing in the morning, you start out big.

144
00:11:04.720 --> 00:11:05.840
Okay, you start out big, big.

145
00:11:06.800 --> 00:11:08.540
Get little by the turn of the clock.

146
00:11:08.540 --> 00:11:09.760
The first time you finish the turn.

147
00:11:09.840 --> 00:11:10.520
Little, little, little.

148
00:11:10.520 --> 00:11:12.180
Get bigger, bigger, biggest.

149
00:11:12.300 --> 00:11:16.380
You go big, you go little, you go big.

150
00:11:16.720 --> 00:11:19.560
You go on the turn.

151
00:11:20.280 --> 00:11:21.520
Big, big, big, big.

152
00:11:21.640 --> 00:11:22.720
Small, small, small.

153
00:11:22.760 --> 00:11:25.060
Getting bigger into the suit new turn.

154
00:11:25.540 --> 00:11:27.340
You're going small, right?

155
00:11:27.960 --> 00:11:28.360
No.

156
00:11:29.000 --> 00:11:29.460
Suit new.

157
00:11:29.680 --> 00:11:34.640
Yeah, I'm getting smaller, small, small, small, small, and big, big, big.

158
00:11:37.220 --> 00:11:38.100
Cure in.

159
00:11:38.640 --> 00:11:40.160
You'll probably make that a little slower.

160
00:11:40.280 --> 00:11:41.880
We should lose the door, tighten back.

161
00:11:41.960 --> 00:11:42.400
Beautiful.

162
00:11:43.520 --> 00:11:43.860
Go.

163
00:11:45.720 --> 00:11:46.680
Tighten to the feet.

164
00:11:47.880 --> 00:11:49.140
You're just going to do a little twirl here.

165
00:11:49.140 --> 00:11:52.480
When she does the twirl, there, we come back to the wide shot.

166
00:11:54.080 --> 00:11:54.300
Oops.

167
00:11:54.540 --> 00:11:55.640
We lost the leg.

168
00:11:55.860 --> 00:11:57.180
We lost just the toe there.

169
00:11:57.660 --> 00:12:00.720
We'll go a little tighter on this also, Steve.

170
00:12:01.060 --> 00:12:03.220
We're going to save every take, but we'll do it again.

171
00:12:03.220 --> 00:12:11.120
I'm confused as to whether I should make the big sort of beady and the small real fluid or whether it should be the opposite.

172
00:12:11.480 --> 00:12:12.160
Don't think of that.

173
00:12:12.200 --> 00:12:13.200
Think just of size.

174
00:12:13.280 --> 00:12:14.480
Don't think about attack.

175
00:12:15.580 --> 00:12:18.200
The attack should be the same, so don't worry about that.

176
00:12:18.220 --> 00:12:21.320
Whether it's small or whether it's big, I mean, they're both fluid.

177
00:12:21.320 --> 00:12:21.880
That's fine.

178
00:12:21.880 --> 00:12:25.740
It's just a question of getting it to expand so that more and more you pull it out.

179
00:12:30.900 --> 00:12:33.840
Jenny way is a superb ensemble dancer.

180
00:12:34.300 --> 00:12:40.360
Her strength goes through a very precise and clear technique to provide a center around which others can comfortably arrange themselves.

181
00:12:41.260 --> 00:12:43.100
I gave her the etude on focus.

182
00:12:43.800 --> 00:12:45.880
She performs one phrase twice.

183
00:12:46.260 --> 00:12:48.800
Both performances are seen simultaneously.

184
00:12:49.360 --> 00:12:53.500
In tight focus, she begins small and releases her movement as the camera pulls back.

185
00:12:54.200 --> 00:12:55.720
The other rendition commences with a small movement.

186
00:12:55.720 --> 00:12:55.720


187
00:12:55.720 --> 00:12:55.720


188
00:12:55.720 --> 00:12:55.720


189
00:12:55.720 --> 00:12:55.720


190
00:12:55.720 --> 00:12:55.720


191
00:12:55.720 --> 00:12:55.720


192
00:12:55.720 --> 00:12:55.720


193
00:12:57.220 --> 00:12:57.900
The camera moves in.

194
00:13:22.460 --> 00:13:22.980
The camera moves in.

195
00:13:23.000 --> 00:13:23.420
The camera moves in.

196
00:13:51.040 --> 00:13:51.640
The camera moves in.

197
00:13:51.640 --> 00:13:51.640


198
00:13:51.640 --> 00:13:51.640


199
00:13:51.640 --> 00:13:51.640


200
00:13:51.640 --> 00:13:51.640


201
00:13:51.700 --> 00:13:51.700


202
00:13:51.860 --> 00:13:51.860


203
00:13:51.860 --> 00:13:51.860


204
00:13:51.860 --> 00:13:51.860


205
00:13:51.960 --> 00:13:51.980
The camera moves in.

206
00:13:51.980 --> 00:13:52.340
The camera moves in.

207
00:13:52.340 --> 00:13:52.720
The camera moves in.

208
00:13:53.180 --> 00:13:53.380
The camera moves in.

209
00:13:53.520 --> 00:13:53.880
The camera moves in.

210
00:13:53.880 --> 00:13:54.400
Okay.

211
00:13:55.960 --> 00:13:58.140
Okay, so we have the two segments, right?

212
00:13:58.420 --> 00:14:00.400
Forget about the record rate on the disc now.

213
00:14:00.480 --> 00:14:01.920
Just about what we're recording.

214
00:14:02.800 --> 00:14:04.740
Okay, here we're going F, E, D, C.

215
00:14:04.740 --> 00:14:05.140
Right.

216
00:14:05.380 --> 00:14:07.300
And here we're going C, D.

217
00:14:08.060 --> 00:14:10.420
And so E, D, C and E, D, C are in sync.

218
00:14:10.500 --> 00:14:13.140
The question is will C, D time up with F?

219
00:14:13.560 --> 00:14:16.040
So you've done A, B, and your back is beginning A, right?

220
00:14:16.080 --> 00:14:16.380
Right.

221
00:14:16.740 --> 00:14:22.120
Okay, now from there, go over your shoulder, forward, fast, fast, to the promenade as fast as you can get there.

222
00:14:22.340 --> 00:14:23.860
And then you go backwards all the way.

223
00:14:23.860 --> 00:14:23.860


224
00:14:23.860 --> 00:14:24.860
And then you go right over your shoulder.

225
00:14:25.760 --> 00:14:28.920
Okay, then you go forward all the way through to the end.

226
00:14:29.340 --> 00:14:29.420
Period.

227
00:14:30.420 --> 00:14:30.820
Okay?

228
00:14:31.440 --> 00:14:32.920
So that will be one segment.

229
00:14:34.160 --> 00:14:37.920
Christine Uchida is one of the few dancers I find genuinely graceful.

230
00:14:38.220 --> 00:14:40.980
No matter what speed she is dancing, she is a lyric dancer.

231
00:14:41.180 --> 00:14:44.820
Her movement is seamless and her apparent ease totally endearing.

232
00:14:45.700 --> 00:14:45.740
Her movement is seamless and her apparent ease totally endearing.

233
00:14:45.740 --> 00:14:45.740


234
00:14:45.740 --> 00:14:47.180
I should talk you right over this, Chris.

235
00:14:47.180 --> 00:14:47.720
I should talk you right over this, Chris.

236
00:14:49.440 --> 00:14:49.860
Twyla?

237
00:14:50.560 --> 00:14:50.560


238
00:14:52.020 --> 00:14:54.300
And the other one is in thirds.

239
00:14:54.300 --> 00:14:54.440
And the other one is in thirds.

240
00:14:54.940 --> 00:14:55.780
When we stop.

241
00:14:57.180 --> 00:14:57.780
Okay.

242
00:14:59.000 --> 00:14:59.460
Okay.

243
00:15:01.220 --> 00:15:02.720
I'm so confused.

244
00:15:09.480 --> 00:15:11.560
I don't know. Biff has to answer before I can answer.

245
00:15:11.560 --> 00:15:13.220
Are we going into overtime now?

246
00:15:13.960 --> 00:15:15.140
Yes, we are.

247
00:15:17.260 --> 00:15:18.700
I'm willing to do it again.

248
00:15:18.700 --> 00:15:22.180
I'm not convinced it's as good as it could be done, but I don't know what it's going to cost.

249
00:15:22.440 --> 00:15:22.560
I'm not convinced it's as good as it could be done, but I don't know what it's going to cost.

250
00:15:22.560 --> 00:15:23.600
You know, I can't put a...

251
00:15:23.600 --> 00:15:27.540
If it's going to take you six minutes and you haven't, and you want to do it, do it.

252
00:15:27.700 --> 00:15:28.480
Can you do it?

253
00:15:28.520 --> 00:15:30.020
All right, then go back and set up.

254
00:15:30.340 --> 00:15:31.220
Save everything.

255
00:15:31.560 --> 00:15:34.580
Stop the playback, set up to record on fresh tape, please.

256
00:15:35.080 --> 00:15:35.420
Okay.

257
00:15:35.680 --> 00:15:39.840
Go down, and you'll reach about 13 minutes in, and you'll be on fresh tape.

258
00:15:47.900 --> 00:15:48.460
Go down, and you'll reach about 13 minutes in, and you'll be on fresh tape.

259
00:16:10.600 --> 00:16:12.380
So when I told you earlier we go out, you know, when employees are showing up several times,

260
00:16:12.520 --> 00:16:13.700
you know, it's not always good enough, we just have to set up the bitcoin, what else?

261
00:16:13.700 --> 00:16:15.480
Okay, so if you're following and they're really good, yeah, for the grand出 that I've seen before,

262
00:16:16.860 --> 00:16:18.680
I'm actually I'm also going to go for a quick little insert here.

263
00:16:18.680 --> 00:16:21.220
there is always something arbitrary in this activity.

264
00:16:21.760 --> 00:16:25.700
I used to have a dancer who argued that the only true retrograde would be done under the

265
00:16:25.700 --> 00:16:26.560
ocean in China.

266
00:16:27.360 --> 00:16:31.520
Nonetheless, the Chris on the left dances a phrase forwards to a point then reverses

267
00:16:31.520 --> 00:16:32.120
it physically.

268
00:16:32.640 --> 00:16:37.000
The Chris on the right was recorded first dancing forwards but is now being played back

269
00:16:37.000 --> 00:16:37.600
in reverse.

270
00:16:38.300 --> 00:16:43.100
The exercise was designed so that at a certain point, the Chris on the left would meet up

271
00:16:43.100 --> 00:16:47.060
with the Chris on the right and the two of them go backwards together so that one might

272
00:16:47.060 --> 00:16:51.660
compare physical literal going backwardness with machine going backwardness and see how

273
00:16:51.660 --> 00:16:52.380
they differ.

274
00:16:52.760 --> 00:16:57.820
Thus seeing what is physically possible and what is physically impossible but conceptually

275
00:16:57.820 --> 00:16:58.240
correct.

276
00:16:59.020 --> 00:17:02.560
This is the real dichotomy that I find fascinating about television.

277
00:17:03.140 --> 00:17:08.120
It can come closer to a conceptual rendition of movement in space than actual dancing.

278
00:17:09.120 --> 00:17:10.900
You cannot retrograde gravity.

279
00:17:11.340 --> 00:17:15.780
The machine can retrograde gravity so that the flow of the mechanical Chris going backwards

280
00:17:15.780 --> 00:17:18.200
is accurate but it's physically impossible.

281
00:17:18.800 --> 00:17:21.340
It's right but it's wrong.

282
00:17:36.100 --> 00:17:37.700
Rehearsal is a learning process.

283
00:17:38.180 --> 00:17:43.160
This means dealing with things not yet quite understood and this is hard to accomplish

284
00:17:43.160 --> 00:17:44.480
in certain situations.

285
00:17:45.000 --> 00:17:49.140
When working in the rehearsal studios at American Valley Theater, one is on constant public

286
00:17:49.140 --> 00:17:49.560
display.

287
00:17:49.780 --> 00:17:50.820
There is no privacy.

288
00:17:51.340 --> 00:17:55.840
There are windows into every studio and those looking through tend to dismiss the pleasures

289
00:17:55.840 --> 00:18:00.600
of watching dancers work and look instead for their flaws, which are many if you really

290
00:18:00.600 --> 00:18:01.680
try something new.

291
00:18:28.980 --> 00:18:33.740
I have always believed that one of the great virtues of television is its ability to show

292
00:18:33.740 --> 00:18:37.200
intimacy in a way that can never ever be presented on the stage.

293
00:18:37.760 --> 00:18:42.480
Of allowing an audience to see where a dance began, where it came from, how it evolved.

294
00:19:10.060 --> 00:19:12.460
Michael Baryshnikov is one of the most generous people I know.

295
00:19:12.460 --> 00:19:17.800
As a dancer this means he's capable of forgetting himself in order to transmit another person's

296
00:19:17.800 --> 00:19:18.120
thoughts.

297
00:19:18.400 --> 00:19:22.040
Few performers are willing to forfeit themselves in this way, to go on learning.

298
00:19:22.500 --> 00:19:26.760
Many dancers want to impress you with what they already know, with what they believe

299
00:19:26.760 --> 00:19:28.280
to be their strongest features.

300
00:19:29.120 --> 00:19:33.740
Misha is secure enough to let go of all that and just try what he's asked to try with full

301
00:19:33.740 --> 00:19:36.020
good intent, good hearted and good nature.

302
00:21:16.340 --> 00:21:18.440
Do you want to review first before we go on?

303
00:21:18.620 --> 00:21:19.660
Just all the steps.

304
00:21:19.940 --> 00:21:20.480
All the old steps.

305
00:21:20.480 --> 00:21:21.160
All the old steps.

306
00:21:21.740 --> 00:21:22.220
Okay.

307
00:21:32.440 --> 00:21:33.400
What did you say?

308
00:21:33.640 --> 00:21:35.480
I said what did you say?

309
00:21:35.900 --> 00:21:36.280
What did you say?

310
00:21:36.440 --> 00:21:36.960
What did you say?

311
00:21:37.240 --> 00:21:37.760
What did you say?

312
00:21:37.780 --> 00:21:38.300
What did you say?

313
00:21:38.300 --> 00:21:38.560
What did you say?

314
00:21:38.560 --> 00:21:39.160
What did you say?

315
00:21:39.160 --> 00:21:39.180
What did you say?

316
00:21:39.620 --> 00:21:40.040
What did you say?

317
00:21:40.180 --> 00:21:40.180


318
00:21:40.240 --> 00:21:41.000
What did you say?

319
00:21:41.320 --> 00:21:41.660
What did you say?

320
00:21:41.660 --> 00:21:41.660


321
00:21:42.060 --> 00:21:42.060


322
00:21:42.060 --> 00:21:42.060


323
00:21:42.060 --> 00:21:42.060


324
00:21:42.060 --> 00:21:42.060


325
00:21:44.300 --> 00:21:47.460
Are you sure we don't have a better recovery from that lift?

326
00:21:47.760 --> 00:21:51.740
Maybe it's possible to parapsycholate and you will be in position.

327
00:21:52.220 --> 00:21:53.900
I know that's going to be a lot of weight on your legs.

328
00:21:55.360 --> 00:21:56.160
But it's easier.

329
00:21:56.900 --> 00:21:57.540
You're going to do the airbask.

330
00:21:57.640 --> 00:21:58.060
I will do it.

331
00:21:58.060 --> 00:21:58.560
Do nothing.

332
00:21:59.820 --> 00:21:59.820


333
00:22:01.320 --> 00:22:01.500
Okay.

334
00:22:02.820 --> 00:22:02.820


335
00:22:07.860 --> 00:22:09.100
Yeah, yeah, that's good.

336
00:22:09.280 --> 00:22:09.700
I like that.

337
00:22:09.700 --> 00:22:11.700
I love that.

338
00:22:13.700 --> 00:22:14.280
It's incredible.

339
00:22:19.820 --> 00:22:21.100
That's wonderful.

340
00:22:21.420 --> 00:22:25.400
I get motion sick very easily and dancing sometimes makes me quite ill.

341
00:22:25.860 --> 00:22:27.740
I rarely allow myself to be lifted.

342
00:22:28.460 --> 00:22:31.380
And that is because being picked up upsets my stomach.

343
00:22:32.220 --> 00:22:34.940
And also, it's dangerous.

344
00:22:34.940 --> 00:22:36.240
I'm sorry.

345
00:22:36.240 --> 00:22:37.100
I'm sorry.

346
00:22:37.380 --> 00:22:38.060
I'm sorry.

347
00:22:38.940 --> 00:22:39.560
I'm sorry.

348
00:22:39.920 --> 00:22:40.860
Oh my God.

349
00:22:41.020 --> 00:22:41.620
That's nice.

350
00:22:51.320 --> 00:22:56.220
One more for the road was intended to be very quiet and very contained.

351
00:22:58.740 --> 00:23:02.700
A private dance conceived more for the single viewer sitting comfortably at home

352
00:23:02.700 --> 00:23:06.600
than for one seated in the back or the front of a 4,000 seat house.

353
00:23:07.060 --> 00:23:08.640
A piece to be seen up close.

354
00:23:11.800 --> 00:23:13.760
There's nothing happening with the arms and the legs.

355
00:23:14.020 --> 00:23:16.020
I didn't make anything for the arms and the legs.

356
00:23:16.080 --> 00:23:18.520
It was made more for the void between us.

357
00:23:32.700 --> 00:23:34.300
You can't do this to me.

358
00:23:38.500 --> 00:23:42.160
Don't make it worse for me.

359
00:23:55.280 --> 00:24:01.580
You won't have hope for the body outside the door.

360
00:24:02.700 --> 00:24:05.160
You won't have hope for the body outside the door.

361
00:24:08.100 --> 00:24:13.760
You won't have hope for the body outside the door.

362
00:24:32.700 --> 00:24:38.700
You won't have hope for the body outside the door.

363
00:24:40.640 --> 00:24:43.140
You won't have hope for the body outside the door.

364
00:24:43.140 --> 00:24:55.120
You won't have hope for the body outside the door.

365
00:24:55.400 --> 00:25:00.820
You won't have hope for the body outside the door.

366
00:25:01.920 --> 00:25:06.200
You won't have hope for the body outside the door.

367
00:25:07.820 --> 00:25:09.540
You won't have hope for the body outside the door.

368
00:25:10.680 --> 00:25:12.740
You won't have hope for the body outside the door.

369
00:25:12.740 --> 00:25:21.340
You won't have hope for the body outside the door.

370
00:25:24.600 --> 00:25:28.240
I'm running for the road.

371
00:25:31.580 --> 00:25:34.980
I'm running for the road.

372
00:25:35.620 --> 00:25:40.600
I'm running for the road.

373
00:25:40.600 --> 00:25:42.860
I'm running for the road.

374
00:25:43.240 --> 00:25:44.340
I'm running for the road.

375
00:25:45.000 --> 00:25:47.140
I'm running for the road.

376
00:25:47.140 --> 00:25:47.360
I'm running for the road.

377
00:25:47.420 --> 00:25:50.300
I'm running for the road.

378
00:26:06.280 --> 00:26:06.840
I'm running for the road.

379
00:26:06.840 --> 00:26:06.840


380
00:26:06.840 --> 00:26:06.840


381
00:26:06.840 --> 00:26:06.840


382
00:26:06.840 --> 00:26:07.860
I was born in the country.

383
00:26:08.640 --> 00:26:11.020
I have always been attracted by the energy of the country.

384
00:26:11.300 --> 00:26:13.660
It's music, it's dancing, things grow there.

385
00:26:13.960 --> 00:26:17.520
I decided to make a small television event with energy as its subject.

386
00:26:17.520 --> 00:26:21.660
I made a pilgrimage to find Snuffy Jenkins and Pappy Sherrill.

387
00:26:22.080 --> 00:26:24.600
Snuffy, nice to meet you.

388
00:26:25.380 --> 00:26:26.440
Do you have a nice flight?

389
00:26:26.920 --> 00:26:28.180
Take that on time.

390
00:26:48.500 --> 00:26:51.000
The king is here.

391
00:26:51.520 --> 00:26:53.520
For the Alabama Jubilee.

392
00:27:15.960 --> 00:27:20.400
My father played fiddle a bit and it used to be on these cross-country journeys.

393
00:27:20.440 --> 00:27:22.500
We were only united as a family in cars.

394
00:27:22.500 --> 00:27:27.940
I came to know how my mother and father felt about each other according to how they comported themselves in the front seat.

395
00:27:28.440 --> 00:27:34.720
My father would always want to listen to the bluegrass music, but then my mother would change it to the Chicago Symphony playing some Beethoven or other,

396
00:27:34.840 --> 00:27:43.200
and this made me very unhappy because it put down my father and it put down cultural roots and it put down our heritage and went back to all this European bullshit stuff.

397
00:27:50.700 --> 00:27:53.200
You guys are making it harder to pick now.

398
00:28:23.640 --> 00:28:32.860
It's predictable. Now I know it's dangerous to change your timing, but try to phrase it just a little differently so that it's like you're taking for granted that your partner's going to go.

399
00:28:33.160 --> 00:28:35.760
It shouldn't appear to me as though that's the case.

400
00:28:36.980 --> 00:28:42.260
And that was good. This was good. Turning trio is getting very good now. This is getting good. Good first PK.

401
00:28:44.040 --> 00:28:51.300
Don't let us get frittled here. When you get tired, what happens is you get very much like this, and it's not supple and all of this is happening.

402
00:28:51.740 --> 00:28:57.780
Okay, you guys remember you're going to link arms first and then you're going under before you do this thing, right? When you bring her in. This is good, Chris.

403
00:29:05.800 --> 00:29:10.140
Now here particularly, let me see what you're doing. Tell me what you're doing.

404
00:29:29.120 --> 00:29:36.640
If you want it to be exactly the way the recording is, say we want the same number of verses, same number of choruses, exactly the way you did it in the recording.

405
00:29:37.220 --> 00:29:43.840
That must be clarified with them before Sunday. Sunday they've got to come in knowing exactly what they're going to do. Okay?

406
00:29:44.760 --> 00:29:50.620
We're talking about now just one shift again, right? And going through it two or three times with one shift of audience.

407
00:29:51.340 --> 00:29:55.360
I go on the record against that. You think it should be two?

408
00:29:55.620 --> 00:30:03.320
About the fourth time we do it, it's going to be the best technical take. It's going to be the one in which we've eliminated the hum in the guys' base.

409
00:30:03.560 --> 00:30:12.680
It's going to be the one in which the light flare is now out of the crane camera. On the fourth take, your audience cannot possibly be up to it.

410
00:30:12.680 --> 00:30:14.600
That's what we're doing in the first room. You see?

411
00:30:14.680 --> 00:30:15.300
You're right about that.

412
00:30:16.980 --> 00:30:18.300
During the dinner break.

413
00:30:18.300 --> 00:30:20.640
Wait, wait, wait. Don't go so fast. Dress and air?

414
00:30:21.140 --> 00:30:27.240
A dress would be done in the afternoon. Then we let the crew go to dinner.

415
00:30:28.040 --> 00:30:34.300
And we then react to what we've done with enough time and hour to make the changes necessary to make it work better.

416
00:30:34.660 --> 00:30:37.620
To the second audience. That's the way to do it, by the way.

417
00:30:38.720 --> 00:30:40.920
I see you have an audience in on your dress rehearsal.

418
00:30:40.920 --> 00:30:41.780
I'll be there in the afternoon.

419
00:30:42.740 --> 00:30:44.600
Oh, cool. That's good.

420
00:30:56.880 --> 00:30:58.820
That's another reason I'm in a foul temper.

421
00:31:01.580 --> 00:31:03.140
I can't do this solo yet.

422
00:31:18.180 --> 00:31:19.560
I'm going to have to do it again.

423
00:31:19.560 --> 00:31:19.960
Take it to the board.

424
00:31:26.620 --> 00:31:28.340
I think I got the end.

425
00:31:29.240 --> 00:31:30.980
I had to do it one more time.

426
00:31:31.300 --> 00:31:32.360
I hope I didn't get it wrong.

427
00:32:09.500 --> 00:32:10.900
I'm going to have to do it again.

428
00:32:39.500 --> 00:32:40.900
I'm going to have to do it again.

429
00:33:09.500 --> 00:33:10.900
I'm going to have to do it again.

430
00:33:10.920 --> 00:33:26.340
I'm going to have to do it again.

431
00:33:30.480 --> 00:33:32.700
Calvin Klein, 76.

432
00:33:33.260 --> 00:33:35.020
$50 dungarees.

433
00:33:35.440 --> 00:33:36.340
Is that true?

434
00:33:37.000 --> 00:33:38.200
Why did you do that?

435
00:33:38.200 --> 00:33:41.200
Because otherwise they fit like my dungarees.

436
00:33:42.300 --> 00:33:43.200
Calvin Klein dungarees.

437
00:33:44.440 --> 00:33:47.640
But Calvin Klein did not make for my waist this pants.

438
00:33:47.800 --> 00:33:49.400
I can deal with the waist, I thought.

439
00:33:49.840 --> 00:33:50.740
The hips worked.

440
00:33:52.020 --> 00:33:52.980
This is my shorts.

441
00:33:53.140 --> 00:33:55.200
My skirt is this color, but my shorts are...

442
00:33:55.200 --> 00:33:57.840
Those are great colors. I'm a little worried about this one.

443
00:33:57.840 --> 00:33:58.360
Is it brown?

444
00:33:58.720 --> 00:34:00.780
I mean, as long as nobody's totally dressed.

445
00:34:00.840 --> 00:34:01.960
I'm totally brown.

446
00:34:04.540 --> 00:34:06.720
If you can get you a belt, what kind?

447
00:34:06.720 --> 00:34:08.620
I don't know. Something that would look good.

448
00:34:08.760 --> 00:34:10.500
Do you think western or chic?

449
00:34:10.760 --> 00:34:11.260
Chic.

450
00:34:11.820 --> 00:34:12.900
And Klein belt.

451
00:34:13.680 --> 00:34:14.900
We'll go find something.

452
00:34:15.740 --> 00:34:18.180
Hillary has built in chic. I just let her go.

453
00:34:18.480 --> 00:34:21.260
Can you put some costumes Saturday on camera?

454
00:34:22.160 --> 00:34:24.900
You know that we need them 9 o'clock Sunday morning for taping.

455
00:34:26.060 --> 00:34:26.060


456
00:34:26.740 --> 00:34:28.100
That's our dress rehearsal.

457
00:34:30.500 --> 00:34:31.760
I mean, I can't.

458
00:34:32.020 --> 00:34:33.260
Our bitches came from there.

459
00:34:34.220 --> 00:34:36.260
Frantic has reached a new level in their lives.

460
00:34:41.520 --> 00:34:43.500
So, how the man will let me in, will you?

461
00:34:44.360 --> 00:34:45.140
Oh, he won't let you in?

462
00:34:45.320 --> 00:34:46.060
No, he won't let me in.

463
00:34:46.080 --> 00:34:47.520
Oh, it's okay. It's her show.

464
00:34:49.320 --> 00:34:51.600
This is a continuing problem for me.

465
00:34:51.720 --> 00:34:53.400
I never have any identification.

466
00:34:53.540 --> 00:34:55.200
The man asked me for a voucher.

467
00:34:57.380 --> 00:34:58.540
A voucher of what?

468
00:34:59.400 --> 00:35:01.860
I don't have a driver's license. I can't drive.

469
00:35:01.860 --> 00:35:04.240
I have no credit cards. I always pay with cash.

470
00:35:04.280 --> 00:35:06.160
Nobody, I can't, I think they are.

471
00:35:06.240 --> 00:35:07.500
I don't know who I am.

472
00:35:08.160 --> 00:35:08.940
Come here, Twyla.

473
00:35:10.080 --> 00:35:11.460
I need to talk to you. It's important.

474
00:35:12.260 --> 00:35:13.880
The floor is bubbling.

475
00:35:14.300 --> 00:35:16.820
I was promised it wouldn't bubble on this side.

476
00:35:16.920 --> 00:35:17.580
Where is it?

477
00:35:17.760 --> 00:35:18.560
Where is it?

478
00:35:19.220 --> 00:35:22.260
I took the slow side from because it wouldn't bubble.

479
00:35:23.160 --> 00:35:23.940
It's buckled.

480
00:35:24.240 --> 00:35:25.380
It's the surface now.

481
00:35:25.440 --> 00:35:27.420
We have some things we can try and get done.

482
00:35:27.860 --> 00:35:28.860
But it's 9 o'clock.

483
00:35:29.320 --> 00:35:29.760
Yeah.

484
00:35:31.080 --> 00:35:33.240
I'm worried about hurting the dancers, number one.

485
00:35:33.260 --> 00:35:35.240
And number two, whether or not dancing on top of that

486
00:35:35.240 --> 00:35:36.840
is going to crease or crack the anilium.

487
00:35:37.040 --> 00:35:38.340
I think it will stretch it out.

488
00:35:39.420 --> 00:35:41.200
Would it help? I don't know.

489
00:35:41.380 --> 00:35:41.920
I believe so.

490
00:35:42.800 --> 00:35:45.720
The look won't make it read on camera.

491
00:35:46.200 --> 00:35:47.820
Okay, well then I would be...

492
00:35:47.820 --> 00:35:49.300
It might help settle it.

493
00:35:49.400 --> 00:35:50.220
How are you?

494
00:35:51.340 --> 00:35:52.460
It's nice to see you here.

495
00:35:53.580 --> 00:35:55.460
Yeah, we know you're here.

496
00:35:55.940 --> 00:35:57.660
So, I'm glad to see you here.

497
00:35:58.380 --> 00:35:59.260
How are you?

498
00:35:59.640 --> 00:36:01.020
That's a nice looking shirt.

499
00:36:01.640 --> 00:36:02.540
Thank you.

500
00:36:03.220 --> 00:36:05.340
We have a lot to shake you around.

501
00:36:27.660 --> 00:36:28.960
I want my masseur.

502
00:36:29.020 --> 00:36:30.420
Then I want my hairdresser.

503
00:36:30.920 --> 00:36:32.480
Then I want my dresser.

504
00:36:33.080 --> 00:36:34.440
Then I want my position.

505
00:36:34.560 --> 00:36:36.040
Then I want my chauffeur.

506
00:36:36.360 --> 00:36:39.660
And then I want...

507
00:36:51.060 --> 00:36:51.660
Okay.

508
00:36:54.840 --> 00:36:55.620
It's fine.

509
00:36:56.180 --> 00:36:57.100
Put your belt down.

510
00:36:57.120 --> 00:36:58.060
Put your belt down, Carla.

511
00:36:58.180 --> 00:36:59.200
I'm coming. I am.

512
00:37:02.240 --> 00:37:03.620
I'm starting to enjoy this.

513
00:37:05.020 --> 00:37:05.960
If it's not going to be a long evening,

514
00:37:06.040 --> 00:37:06.820
it should be fun.

515
00:37:07.780 --> 00:37:09.500
Now, are you ready to say a few words?

516
00:37:10.260 --> 00:37:10.620
No.

517
00:37:12.760 --> 00:37:14.700
I think Carla's built being made up.

518
00:37:14.860 --> 00:37:15.640
So, I'd say, folks,

519
00:37:15.740 --> 00:37:17.500
could you play something for us right now

520
00:37:17.500 --> 00:37:18.280
for a couple minutes?

521
00:37:19.580 --> 00:37:19.580


522
00:37:40.440 --> 00:37:41.220
Okay.

523
00:37:45.160 --> 00:37:46.600
Here we go.

524
00:37:46.600 --> 00:37:48.680
Roll tape to record, please.

525
00:37:49.100 --> 00:37:50.900
I want no talk at all

526
00:37:50.900 --> 00:37:52.180
in this control room.

527
00:37:52.780 --> 00:37:53.340
Okay.

528
00:37:54.500 --> 00:37:55.380
Beeps in, please.

529
00:37:58.020 --> 00:37:58.720
Beeps out.

530
00:37:58.820 --> 00:37:59.480
Read the tape.

531
00:38:01.060 --> 00:38:01.660
And the rest?

532
00:38:02.500 --> 00:38:03.300
Strike it.

533
00:38:04.960 --> 00:38:06.560
Take, put two on the line.

534
00:38:07.220 --> 00:38:07.920
Stand by, please.

535
00:38:08.240 --> 00:38:09.000
Thank you, three.

536
00:38:09.520 --> 00:38:11.760
Roll the playback track. Here we go.

537
00:38:41.640 --> 00:38:43.040
Roll the tape.

538
00:38:43.040 --> 00:38:43.040


539
00:38:43.040 --> 00:38:43.040


540
00:38:43.040 --> 00:38:43.040


541
00:38:43.040 --> 00:38:43.040


542
00:38:43.040 --> 00:38:43.040


543
00:38:43.040 --> 00:38:43.040


544
00:38:43.040 --> 00:38:43.040


545
00:38:43.040 --> 00:38:43.120
Stand by, please.

546
00:38:43.120 --> 00:38:43.120


547
00:38:43.120 --> 00:38:43.880
Stand by, please.

548
00:38:43.880 --> 00:38:44.860
Take, put two on the line.

549
00:38:44.880 --> 00:38:46.360
Stand by, please.

550
00:38:46.360 --> 00:38:46.360


551
00:39:15.020 --> 00:39:15.300
Stand by, please.

552
00:39:15.300 --> 00:39:15.300


553
00:39:15.300 --> 00:39:15.300


554
00:39:15.300 --> 00:39:15.300


555
00:39:15.300 --> 00:39:15.300


556
00:39:15.300 --> 00:39:15.300


557
00:39:15.300 --> 00:39:15.320
Stand by, please.

558
00:39:15.320 --> 00:39:15.320


559
00:39:15.320 --> 00:39:15.420
Stand by, please.

560
00:39:15.420 --> 00:39:15.420


561
00:39:15.420 --> 00:39:15.420


562
00:39:15.420 --> 00:39:15.420


563
00:39:15.420 --> 00:39:16.200
Stand by, please.

564
00:39:16.200 --> 00:39:16.200


565
00:39:44.740 --> 00:39:46.140
Stand by, please.

566
00:39:46.140 --> 00:39:46.140


567
00:39:46.140 --> 00:39:46.140


568
00:39:46.140 --> 00:39:46.140


569
00:39:46.140 --> 00:39:46.140


570
00:39:46.140 --> 00:39:46.140


571
00:39:46.140 --> 00:39:46.140


572
00:39:46.140 --> 00:39:46.140


573
00:39:46.140 --> 00:39:46.140


574
00:39:46.140 --> 00:39:46.140


575
00:39:46.140 --> 00:39:46.140


576
00:39:46.140 --> 00:39:46.180
Stand by, please.

577
00:39:46.180 --> 00:39:46.180


578
00:39:46.180 --> 00:39:46.180


579
00:40:14.740 --> 00:40:16.140
Stand by, please.

580
00:40:28.200 --> 00:40:46.060
Stand by, please.

581
00:40:46.180 --> 00:41:16.000
Stand by, please.

582
00:41:44.760 --> 00:41:46.160
Stand by, please.

583
00:41:57.020 --> 00:42:16.120
Stand by, please.

584
00:42:45.140 --> 00:42:45.640
Stand by, please.

585
00:42:45.640 --> 00:42:45.640


586
00:42:45.640 --> 00:42:45.640


587
00:42:45.640 --> 00:42:45.660
Stand by, please.

588
00:42:45.660 --> 00:42:45.660


589
00:42:45.660 --> 00:42:45.660


590
00:42:45.660 --> 00:42:45.660


591
00:42:45.660 --> 00:42:45.660


592
00:42:45.660 --> 00:42:45.660


593
00:42:45.660 --> 00:42:45.660


594
00:42:45.660 --> 00:42:45.660


595
00:42:45.660 --> 00:42:45.660


596
00:42:45.660 --> 00:42:45.660


597
00:42:45.660 --> 00:42:46.160
Stand by, please.

598
00:43:08.520 --> 00:43:08.960
Stand by, please.

599
00:43:08.960 --> 00:43:08.960


600
00:43:08.960 --> 00:43:08.960


601
00:43:08.960 --> 00:43:08.960


602
00:43:08.960 --> 00:43:09.100
Stand by, please.

603
00:43:09.100 --> 00:43:09.100


604
00:43:09.100 --> 00:43:09.100


605
00:43:09.100 --> 00:43:09.100


606
00:43:09.100 --> 00:43:09.100


607
00:43:09.100 --> 00:43:09.100


608
00:43:09.100 --> 00:43:09.100


609
00:43:09.100 --> 00:43:09.320
Stand by, please.

610
00:43:10.900 --> 00:43:11.800
Stand by, please.

611
00:43:14.020 --> 00:43:15.840
Stand by, please.

612
00:43:44.380 --> 00:43:45.780
Stand by, please.

613
00:43:45.780 --> 00:43:45.820
Stand by, please.

614
00:43:45.820 --> 00:43:45.820


615
00:43:45.820 --> 00:43:45.820


616
00:43:45.820 --> 00:43:45.820


617
00:43:45.820 --> 00:43:45.820


618
00:43:45.820 --> 00:43:45.820


619
00:43:45.820 --> 00:43:45.820


620
00:43:45.820 --> 00:43:45.820


621
00:43:45.820 --> 00:43:45.820


622
00:43:45.820 --> 00:43:45.820


623
00:43:45.820 --> 00:43:45.820


624
00:43:45.820 --> 00:43:45.820


625
00:43:45.820 --> 00:43:45.820


626
00:44:11.120 --> 00:44:15.800
Stand by, please.

627
00:44:15.800 --> 00:44:15.800


628
00:44:15.800 --> 00:44:15.800


629
00:44:15.800 --> 00:44:15.800


630
00:44:15.800 --> 00:44:15.800


631
00:44:15.800 --> 00:44:15.800


632
00:44:15.800 --> 00:44:15.800


633
00:44:15.800 --> 00:44:15.800


634
00:44:15.820 --> 00:44:17.420
Stand by, please.

635
00:44:29.060 --> 00:44:29.080
Great.

636
00:44:42.940 --> 00:44:45.440
And tilt straight down to the floor, Jake.

637
00:44:47.260 --> 00:44:48.280
Good. Out.

638
00:44:48.900 --> 00:44:49.720
Okay, great.

639
00:44:50.120 --> 00:44:51.860
Very nice, gentlemen. Let's stop tape.

640
00:44:53.200 --> 00:44:54.160
Very, very nice.

641
00:44:54.440 --> 00:44:55.500
Now, Hank, explain it.

642
00:44:55.500 --> 00:44:57.220
Twyla's not going to come in and do her show.

643
00:44:57.220 --> 00:44:57.480
Let's stop recording.

644
00:44:58.580 --> 00:44:59.060
Okay.

645
00:44:59.060 --> 00:44:59.060


646
00:44:59.060 --> 00:44:59.060


647
00:44:59.060 --> 00:44:59.060


648
00:44:59.060 --> 00:44:59.060


649
00:44:59.060 --> 00:45:01.980
Now, she's going to cut at you and go to the floor.

650
00:45:02.640 --> 00:45:03.020
Be quick.

651
00:45:05.480 --> 00:45:07.980
Okay, now she's going to large circles to the left.

652
00:45:10.260 --> 00:45:10.640
Very large.

653
00:45:11.000 --> 00:45:12.260
Here she goes.

654
00:45:21.860 --> 00:45:25.100
She's going to do a different turn, then stand by to tighten in.

655
00:45:29.060 --> 00:45:29.300
Okay.

656
00:45:51.720 --> 00:45:57.340
Just come to the crane one more time, and it'll just be the...

657
00:45:57.340 --> 00:46:00.040
The whole thing done again on a different purpose.

658
00:46:00.280 --> 00:46:01.520
Is that...

659
00:46:01.520 --> 00:46:03.180
I got to have three minutes.

660
00:46:04.100 --> 00:46:05.340
You got to get Twyla...

661
00:46:06.460 --> 00:46:07.120
Three minutes.

662
00:46:07.240 --> 00:46:08.480
...about to get over there.

663
00:46:10.680 --> 00:46:12.900
Okay, it'll take time to move the cameras anyway.

664
00:46:14.060 --> 00:46:15.280
Would you like to get out of the lights?

665
00:46:15.460 --> 00:46:16.200
You think that would be better?

666
00:46:16.200 --> 00:46:16.900
Want me to sit down?

667
00:46:17.820 --> 00:46:18.720
No, it's okay.

668
00:46:19.180 --> 00:46:21.340
All right.

669
00:46:24.160 --> 00:46:24.940
Thank you.

670
00:46:24.940 --> 00:46:28.020
We got to get naturalistic.

671
00:46:28.120 --> 00:46:29.400
But not grotesque.

672
00:46:31.100 --> 00:46:32.940
Who's defining life around here?

673
00:46:33.580 --> 00:46:38.020
Five, four, three, two, one.

674
00:47:15.620 --> 00:47:17.020
Okay.

675
00:47:48.880 --> 00:47:50.280
Okay.

676
00:48:23.520 --> 00:48:24.920
Okay.

677
00:48:46.920 --> 00:48:49.760
That was okay, wasn't it?

678
00:48:50.260 --> 00:48:50.260


679
00:48:50.560 --> 00:48:51.860
John, Twyla wants you to move.

680
00:48:52.080 --> 00:48:52.320
Beautiful.

681
00:48:53.440 --> 00:48:54.040
Beautiful.

682
00:48:54.620 --> 00:48:54.920
Beautiful.

683
00:48:54.920 --> 00:48:54.920


684
00:48:54.920 --> 00:48:54.920


685
00:48:54.920 --> 00:48:54.920


686
00:48:54.920 --> 00:48:54.920


687
00:48:54.920 --> 00:48:54.920


688
00:48:54.920 --> 00:48:54.920


689
00:48:54.920 --> 00:48:54.920


690
00:48:54.920 --> 00:48:54.920


691
00:48:54.920 --> 00:48:56.120
Thank you.

692
00:48:56.580 --> 00:48:57.840
You did a very good job.

693
00:48:59.360 --> 00:48:59.840
Yeah.

694
00:49:06.140 --> 00:49:07.520
So where's the beer?

695
00:49:16.760 --> 00:49:19.380
Okay, now I got to go find out what the schedule for tomorrow is.

696
00:49:20.900 --> 00:49:21.380
Tomorrow?

697
00:49:21.380 --> 00:49:21.740
Tomorrow.

698
00:49:23.240 --> 00:49:24.600
I don't like television, but I like you a lot.

699
00:49:24.980 --> 00:49:25.700
Okay, thanks a lot.

700
00:49:28.200 --> 00:49:29.200
This section we haven't fixed.

701
00:49:29.340 --> 00:49:30.100
We have to go there.

702
00:49:31.640 --> 00:49:32.920
See, this section...

703
00:49:32.920 --> 00:49:35.060
is the hole we have to fix.

704
00:49:35.060 --> 00:49:35.340
Yeah.

705
00:49:36.080 --> 00:49:39.280
Let's go back and look at that one more time, Grease.

706
00:49:45.160 --> 00:49:46.900
Okay, what I was trying to see...

707
00:49:46.900 --> 00:49:49.380
when you see these two figures going...

708
00:49:50.520 --> 00:49:52.560
they go back and forth in tempo.

709
00:49:54.220 --> 00:49:56.440
When the music begins, something else has to happen.

710
00:49:56.580 --> 00:49:57.060
Yeah, well, it will.

711
00:50:03.020 --> 00:50:04.420
I like that better.

712
00:50:05.180 --> 00:50:05.400
I like that better too.

713
00:50:05.540 --> 00:50:06.320
I really do.

714
00:50:07.520 --> 00:50:08.000
At the beginning.

715
00:50:09.500 --> 00:50:11.600
I like it at the very beginning, just for the introduction,

716
00:50:11.720 --> 00:50:13.400
the back and forth, but then the zoom,

717
00:50:13.540 --> 00:50:14.740
and then the fast one.

718
00:50:15.540 --> 00:50:16.440
All right, okay.

719
00:50:16.440 --> 00:50:19.520
Now, what we're talking about is a combination of the three of these two.

720
00:50:19.940 --> 00:50:19.940


721
00:50:34.540 --> 00:50:42.320
Well, we're nub in one hour on the first duet.

722
00:50:42.920 --> 00:50:43.240
Quick cuts.

723
00:50:43.240 --> 00:50:45.640
The try and figure would take us about 30 minutes.

724
00:50:48.460 --> 00:50:52.060
I figured we would just put them up and do them on the switcher,

725
00:50:52.060 --> 00:50:54.300
but this is more interesting, what we're doing.

726
00:50:55.260 --> 00:50:56.740
And will give us a better product.

727
00:50:56.960 --> 00:50:59.020
It's amazing how many things after you do it, you know,

728
00:50:59.020 --> 00:51:00.600
you see all kinds of other possibilities.

729
00:51:01.580 --> 00:51:02.620
That's what's supposed to happen.

730
00:51:02.660 --> 00:51:03.800
That's what's supposed to happen.

731
00:51:38.800 --> 00:51:42.420
This is WNAT New York.

732
00:51:52.680 --> 00:51:59.440
This is WNAT New York.

733
00:52:06.120 --> 00:52:09.240
This is WNAT New York.

734
00:52:10.440 --> 00:52:13.100
This is WNAT New York.

735
00:52:19.520 --> 00:52:22.280
This is WNAT New York.

736
00:52:22.280 --> 00:52:22.360
This is WNAT New York.

737
00:52:27.140 --> 00:52:28.600
Tony, can you hear me in there?

738
00:52:31.720 --> 00:52:33.600
Hey, we're running out of time, man.

739
00:52:33.600 --> 00:52:34.940
We got 20 minutes.

740
00:52:35.640 --> 00:52:36.520
Let's go.

741
00:52:37.400 --> 00:52:39.700
I'm off. I'm having a good time, but we gotta get moving.

742
00:52:45.220 --> 00:52:49.140
Widen and come down to like a waist shot as she starts the hip movement.

743
00:52:49.380 --> 00:52:49.620
Widen and come down to like a waist shot as she starts the hip movement.

744
00:52:49.620 --> 00:52:50.840
Okay, come on. Keep coming.

745
00:52:51.900 --> 00:52:52.300
Nice.

746
00:52:53.120 --> 00:52:53.920
That's nice.

747
00:52:54.380 --> 00:52:56.340
I'd like to know whether we can go overtime.

748
00:52:56.340 --> 00:52:56.340


749
00:52:57.040 --> 00:53:00.540
Probably won't make it, we'll try, but I want to know whether we can go over 15 minutes.

750
00:53:01.220 --> 00:53:03.020
Okay, let's go.

751
00:53:03.200 --> 00:53:03.200


752
00:53:03.320 --> 00:53:04.740
Let's roll to record this.

753
00:53:05.220 --> 00:53:07.420
The moment when something comes into being,

754
00:53:07.700 --> 00:53:09.020
that's what the borderline is about.

755
00:53:09.880 --> 00:53:11.940
It's about the points where things meet.

756
00:53:11.940 --> 00:53:14.840
It's about when that which you imagine becomes real.

757
00:53:15.040 --> 00:53:16.580
It's about having the least possible.

758
00:53:16.720 --> 00:53:18.160
It's about having the silhouette.

759
00:53:18.420 --> 00:53:20.380
Some while ago, like about four or five years ago,

760
00:53:20.420 --> 00:53:21.760
I used to dance on a farm.

761
00:53:21.940 --> 00:53:25.540
And there was a hill where I did some movement.

762
00:53:25.720 --> 00:53:28.640
And I remember that I had one of the dancers up there one time.

763
00:53:28.860 --> 00:53:30.520
And it's sort of at sunset.

764
00:53:30.600 --> 00:53:33.300
And what you saw just was this outline around them.

765
00:53:33.360 --> 00:53:37.720
And I loved it so much because it was this meeting point of the earth and the sky

766
00:53:37.720 --> 00:53:39.800
and the fire of the sun setting down

767
00:53:39.800 --> 00:53:41.920
and just leaving the outline of the whole thing.

768
00:53:41.920 --> 00:53:41.920


769
00:53:41.920 --> 00:53:41.920


770
00:54:45.300 --> 00:54:49.380
Tonight at 10.30, Movie 11 presents Claude Joutras,

771
00:54:50.040 --> 00:54:54.740
My Uncle Antoine,

772
00:54:54.880 --> 00:54:57.180
one of the most honored Canadian films.

773
00:54:57.620 --> 00:55:00.300
A young boy comes of age in the Canadian backwoods.

774
00:55:00.380 --> 00:55:03.280
He learns to cope with the help of his remarkable uncle.