Director Alan Parker also came to Harlan Middle School after finishing filming in the movie theater to check on the preparations for the most important dance scene in the entire movie.
"Louis, how are you preparing for this dance?" Director Alan Parker asked choreographer Louis Falco.
"I divided the dancers into two teams, a mixture of ballet and jazz dance. The two teams separated after rushing out of the school gate. One team went to intercept the Cadillac, jumped on the roof of the car and continued the ballet movements.
The other team went to the taxi on the other side of the road and started maneuvering around the taxi..."
Choreographer Luis Falcao explains his choreographic ideas to director Alan Parker.
"Show me your results, Louis. Don't just describe it in words." Alan Parker interrupted the choreographer Louis and asked to watch the dance directly.
"OK" the choreographer turned his earrings and gestured to his assistant, instructing the group of dancers to start performing again.
"I need something hot, baby, tonight."
Donna Summer's "Hot Stuff" played, and the dancers gracefully ran out of the school gate, crossed the street with dance steps, danced around the car, and then the crowd lifted the dancers onto the roof of the car, and placed them on the roof and under the car.
Dance together neatly.
The theme song hasn't been written yet, so for the time being I'll start with this disco song with a similar rhythm.
"No, no, no, no, this is too deliberate. I can't use any of them. I want these kids to rush out of the school gate and start dancing." Alan Parker saw this and began to shake his head.
"It has to be redone. Before the actual shooting tomorrow, you have to come up with a plan, Louis." The director looked serious.
Choreographer Luis Falco was stunned and didn't know what was going on. He didn't understand why the director denied the results of three days of rehearsals.
And as a choreographer, he couldn't tell other dancers that he didn't understand what the director meant. Otherwise, his reputation as unprofessional would spread throughout the crew the next day.
"I want to see the new choreographer before filming starts tomorrow morning." After giving the order, the director went to discuss the arrangements for tomorrow's live shooting with the producer.
"Gene, what do you mean by rushing out and starting dancing?" Choreographer Louis Falco took Jean's arm and asked about his friend.
"How do I know? You are the choreographer, Louis." Gene pulled his arm out of the choreographer's hand impatiently.
Luis Falco looked disappointed when he saw Jean's unwillingness to have physical contact. He withdrew his hand and began to play with his earrings.
"What, Gene, are you no longer on our side?"
Gene said: "No, I just don't want to show it in public. I don't want what those people in Harlem think of me to happen on the set."
"I understand, I understand."
"No, you don't understand. The producer Mr. Da Silva came to me and said that he would make a TV series based on the movie and invited me to continue playing Leroy."
"Oh, Gene, you're going to be popular."
"So the producer told me not to come out of the closet." Gene whispered.
"If you really have no idea, you can ask Ronald, he always has an idea." Gene gave another suggestion.
"Oh?", the choreographer replied, "He too...?"
"No, he is just very capable. He was the one who picked me to join the crew. I saw a musical film he made in Hollywood, and there was a subtitle at the end of the film to thank him."
"Okay, then I'll try to find him."
…
"Lift up, get on the roof of the car, jump..." Luis Falco showed Ronald the dance moves that he had spent three days choreographing.
"Then Alan said that the dance I choreographed was too deliberate, and he started dancing as soon as he rushed out."
Ronald, who was asked by Jean to come up with ideas, was staring at the movements of the group of dancers and comparing them with the dance passages in his dream.
"Why do they seem to be dancing according to predetermined movements?" Ronald asked, pointing to the two dancers on the roof of the car.
"This is the job of the choreographer, to find suitable dance moves for each of them and to bring out the characteristics of each person."
"No, I mean, the plot is that they heard the music downstairs, then rushed out of the school and started dancing, right?"
"That's right." Choreographer Luis Falco still doesn't understand.
"Then why do they still dance according to pre-designed movements? In this case, they should rush into the crowd and dance however they want?" Ronald said affirmatively.
The dance in the dream is like this, everyone dances in his own way, and everyone dances according to their own feelings.
"But doesn't that mean there is no choreography?"
"No, this is not a Broadway musical. Allen wanted to make it into a movie that reflects the social reality of America." Ronald said based on his own feelings.
"If you look at the plot, there are even plots about tricking people into making adult movies, abortion, and coming out. He would definitely not let this dance be filmed in the style of a Broadway musical adaptation like 'Grease.'"
"What the director said when you rush out and dance is probably literal. Louis, you are a professional choreographer, so you should know better how to meet the director's requirements."
"What you said makes sense." Choreographer Luis Falco was deep in thought, "I can choose a dance style for each dancer, but let them freely express themselves on this basis."
…
"Antonia, I have a whole set of plans to become famous all over the world. After the movie is released, there will be a TV series. Are you willing to continue to play Hillary in the TV series?"
Producer David da Silva began talking to the leading actors to understand their wishes.
"My dream is to dance ballet, and acting in movies is just a way for me to make money." Antonia decisively rejected the producer's temptation.
"Don't decide so early, Antonia. You will have many opportunities after the movie is released."
"Thank you for your kindness, Mr. da Silva, but I have already received an invitation from the New York City Ballet, Mr. Balanchine. After graduating from ballet school next year, I will join the New York City Ballet."
"Well, congratulations?" David da Silva crossed Antonia off the list of starring roles in the spin-off TV series in his heart.
…
"I want something hot, baby, tonight."
Luis Balco turned on the tape recorder, and more than 60 dancers rushed into the streets screaming. They had complete freedom to dance whatever they wanted and with whom they wanted to dance.
A few brave ones jumped on the roof of the prop car and made a loud bang on the roof.
There were also a few dancers with superior dancing skills who even started a one-on-one dance battle.
"Bah bang bang," the director clapped, "This is what I want, Louis, this is the scene I want."
"How did you make them improve so much in such a short period of time?"
"Speaking of which, Ronald told me your plan. This is a realistic movie, not a Broadway musical. The songs and dances in this movie must conform to the logic of reality. It is not like a Broadway musical for the audience to watch.
Dance for a dance.”
"I just let them go out and play whatever style I chose for them."
"Very good, Louis, very good." Alan Parker patted the choreographer on the shoulder, "Is Ronald also one of you? I heard that he has a good relationship with Gene?"
"I don't know anything about them. We also have privacy between us. It's no different from heterosexual relationships."
The choreographer replied while twirling his earrings.
…
"Alan, what do you think? I sincerely invite you to join the production of the TV series version. After all, it is you who make these characters come alive." Producer David Da Silva chatted with the director about the TV series version.
"The movie is going to be R-rated, and the TV series must maintain a PG rating. How will your TV series deal with these R-rated content?" Alan Parker asked.
"I'm going to change the characters so that Montgomery is no longer gay, and there are no teenage pregnancies and abortions."
"Aren't you emasculating the characters? I'm not interested in PG-rated TV series."
"Okay, but at least don't ruin my business, Allen."
…
"Alan Parker, ask me if you are with Ronald...you have to be careful about him...I heard that there is a plot in the script for the character Montgomery to come out." Choreographer Louis Parker found Gene and whispered.