Director Alan Parker also came to Harlan Middle School after completing the filming of 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 twirled his earrings and gestured to his assistant to signal the group of dancers to start performing again.
"I need something hot, baby, tonight."
As Donna Summer's "Hot Stuff" played, the dancers gracefully ran out of the school gate, danced across the street, and danced around the car. Then the crowd lifted the dancer onto the roof of the car, and danced on 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, wondering what was happening. He didn't understand why the director rejected 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, your reputation as unprofessional will 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 him.
"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 started playing 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 people in Harlem think of me to happen on 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 red."
"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 a way." 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 pulled by Jean to come up with ideas, was staring at the movements of the group of dancers and comparing 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.
"That's the choreographer's job, to find the right dance moves for each of them, to bring out the characteristics of each person."
"No, I mean, the plot is that they heard the music downstairs, and then rushed out of the school and started dancing, right?"
"That's right." Choreographer Louis 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, right?" 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’s 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 about rushing out and dancing 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 mused, "I can choose a dance style for each dancer, but let them play freely 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 playing Hillary in the TV series?"
Producer David DaSilva began talking to the stars 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'll have many opportunities after the movie comes out."
"Thank you for your kindness, Mr. da Silva, but I have been invited by the New York City Ballet, Mr. Balanchine. After graduating from ballet school next year, I will join the New York City Ballet."
"So, 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 screamed and rushed into the streets. Completely free to play, dance what you want, dance with whom you want, and who you want to dance with.
A few brave ones jumped on the roof of the prop car and stepped on it loudly.
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?" asked Alan Parker.
"I'm going to change the character so Montgomery is no longer gay and there's no teenage pregnancy or abortion."
"Aren't you emasculating the characters? I'm not interested in PG-rated TV series."
"Okay, but at least don't mess with me, Alan."
…
"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.
