When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
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After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.
Sometimes you feel like people go, 'Oh, he just does funny dances,' or 'That's cute.' It drives me a little crazy when someone does a dance number where all they do is kick to their head for five minutes, and everyone's like, 'That choreography is amazing.' It takes a lot to choreograph a number that also gets laughs in it.
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.
I collaborated on most of my dance numbers, literally 50/50, with the choreographers I worked with.
We wanted to sit down and conceptually work out songs.
To make it more familiar to me, I ended up treating my swordplay scenes like choreography. So it was, 'One and two and three and four and five, and turn and step and down and up and lunge.'
You know, and it really doesn't have a lot to do with the movie. That's the trick to doing a good musical is that, if you take that music number out, there's less to the movie there. You would miss it.
Choreography is writing on your feet.
Everyone knows 'Smash' is about musical numbers, and everyone knows we have fantastic dance sequences and great performances.
Well, I tell you... the first chorus, I plays the melody. The second chorus, I plays the melody round the melody, and the third chorus, I routines.
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