1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:08,075 --> 00:00:12,046 ♪ 4 00:00:12,079 --> 00:00:16,050 ♪ 5 00:00:16,083 --> 00:00:21,288 ♪ 6 00:00:21,321 --> 00:00:25,926 ♪ 7 00:00:25,959 --> 00:00:30,063 ♪ 8 00:00:30,097 --> 00:00:34,802 ♪ 9 00:00:34,835 --> 00:00:38,138 ♪ 10 00:00:38,171 --> 00:00:42,275 ♪ 11 00:00:42,309 --> 00:00:47,080 ♪ 12 00:00:47,114 --> 00:00:51,318 ♪ 13 00:00:51,351 --> 00:00:55,956 ♪ 14 00:00:55,989 --> 00:01:00,093 ♪ 15 00:01:00,127 --> 00:01:04,765 ♪ 16 00:01:04,798 --> 00:01:08,101 ♪ 17 00:01:08,135 --> 00:01:12,239 ♪ 18 00:01:12,272 --> 00:01:17,043 ♪ 19 00:01:17,077 --> 00:01:21,281 ♪ 20 00:01:21,315 --> 00:01:25,619 ♪ 21 00:01:25,652 --> 00:01:28,221 SIPHESIHLE: It’s felt fitting to come back with this piece 22 00:01:28,255 --> 00:01:29,656 because the last thing we did. 23 00:01:29,690 --> 00:01:31,625 It’s just life getting to the root of 24 00:01:31,658 --> 00:01:34,928 what experiencing this life is. 25 00:01:34,962 --> 00:01:37,731 You know, all these moments are fleeting and they’re beautiful, 26 00:01:37,764 --> 00:01:40,967 and we are always constantly trying to stretch them out, 27 00:01:41,001 --> 00:01:43,604 to make them, you know, as beautiful as possible 28 00:01:43,637 --> 00:01:45,606 for as long as possible, 29 00:01:45,639 --> 00:01:47,641 but at the same time, knowing that it will end 30 00:01:47,674 --> 00:01:50,310 and knowing that no memory, no moment 31 00:01:50,344 --> 00:01:51,679 ever comes back the same. 32 00:01:51,712 --> 00:01:55,282 HANNAH: It’s been, like, overwhelming to come back 33 00:01:55,315 --> 00:01:57,083 when everything is so different, 34 00:01:57,117 --> 00:01:58,752 my life is so different, 35 00:01:58,785 --> 00:02:01,354 and things that I’ve experienced since then, like... 36 00:02:01,388 --> 00:02:03,790 the piece itself feels different, 37 00:02:03,824 --> 00:02:07,361 but then when we’re lying on stage and the music starts, 38 00:02:07,394 --> 00:02:10,530 it feels like I’m transported back to 2020 39 00:02:10,564 --> 00:02:12,866 or whenever we performed this. 40 00:02:12,899 --> 00:02:15,235 SPENCER: There are a lot of mixed emotions. 41 00:02:15,268 --> 00:02:20,206 Obviously excitement and joy and eagerness to get back, 42 00:02:20,240 --> 00:02:22,476 but also some fear and doubt. 43 00:02:22,509 --> 00:02:25,112 Kind of leaving things with this piece, 44 00:02:25,145 --> 00:02:28,548 but then also coming back to things with this piece 45 00:02:28,582 --> 00:02:32,619 that felt like bookends of a very strange time. 46 00:02:32,653 --> 00:02:34,555 JENNA: It’s just been very demanding, 47 00:02:34,588 --> 00:02:36,824 and it’s just like... coming back to it, 48 00:02:36,857 --> 00:02:41,762 but I think it’s also helped me come back well, 49 00:02:41,795 --> 00:02:44,965 I feel like, because it is so emotional, it is so demanding. 50 00:02:44,998 --> 00:02:49,102 It requires thought and effort and feeling, 51 00:02:49,136 --> 00:02:52,606 and it’s never surface. 52 00:02:52,639 --> 00:02:55,242 ♪ 53 00:02:55,275 --> 00:02:59,312 [indistinct conversation] 54 00:02:59,346 --> 00:03:03,684 ♪ 55 00:03:03,717 --> 00:03:07,020 ♪ 56 00:03:07,054 --> 00:03:11,091 [indistinct conversation] 57 00:03:11,124 --> 00:03:14,194 CRYSTAL: Hi! DANCER: Hi. 58 00:03:14,227 --> 00:03:17,263 ♪ 59 00:03:17,297 --> 00:03:20,066 CRYSTAL: Hi, guys. [dancers clapping] 60 00:03:20,100 --> 00:03:21,468 CRYSTAL: Oh, nice to see you! 61 00:03:21,501 --> 00:03:23,470 Ah, I wanna hug you all! Mwah, mwah. 62 00:03:23,503 --> 00:03:25,071 How are you doing? HARRISON: Great! 63 00:03:25,105 --> 00:03:26,239 CRYSTAL: Yeah? Good! 64 00:03:26,273 --> 00:03:28,075 DANCER: [inaudible] CRYSTAL: Aw, nice. 65 00:03:28,108 --> 00:03:29,576 I’m thrilled to see you. 66 00:03:29,609 --> 00:03:31,644 So happy to see you again. 67 00:03:31,678 --> 00:03:33,280 We were just saying it feels like 8 minutes ago 68 00:03:33,313 --> 00:03:34,748 that we were all together. 69 00:03:34,781 --> 00:03:37,083 I mean, ideally, I would have the whole cast here right now, 70 00:03:37,117 --> 00:03:40,554 but I’m thinking, if I tell you, you can tell your friends, 71 00:03:40,587 --> 00:03:43,557 and there’ll be a kind of like osmosis. 72 00:03:43,590 --> 00:03:46,560 So what we’re starting with is a feeling of loss, 73 00:03:46,593 --> 00:03:51,731 like just kind of an extreme feeling of shock and sadness 74 00:03:51,765 --> 00:03:54,735 and the feeling of kind of glitching over 75 00:03:54,768 --> 00:03:56,770 the same traumatic moment. 76 00:03:56,803 --> 00:03:59,306 And so this little pulse is about that. 77 00:03:59,339 --> 00:04:01,775 It’s about saying, get up, get up, get up, get up, get up, 78 00:04:01,808 --> 00:04:03,743 get off the floor, get up, get up, get up, right? 79 00:04:03,777 --> 00:04:05,912 So it wants to feel that in your chest. 80 00:04:05,946 --> 00:04:10,784 Yeah, the urgency of trying to bring Siphe back. 81 00:04:10,817 --> 00:04:13,119 It wants to feel like it’s supercharged. 82 00:04:13,153 --> 00:04:15,856 And the energy between the heels of your hands and your forehead 83 00:04:15,889 --> 00:04:17,958 is just zinging, yeah? [inhales swiftly] 84 00:04:17,991 --> 00:04:20,293 And then again, we want to kind of glitch over 85 00:04:20,327 --> 00:04:23,964 the same moment, the same sad moment, right? 86 00:04:23,997 --> 00:04:27,033 Of, "Oh, no." Oh, you know, so we’re sort of-- 87 00:04:27,067 --> 00:04:29,870 we’re taking in the image and we’re responding to it. 88 00:04:29,903 --> 00:04:32,072 We’re taking in the image and we’re responding to it. 89 00:04:32,105 --> 00:04:35,208 And again, so we’re just kind of scratching over 90 00:04:35,242 --> 00:04:37,244 that same moment in time. 91 00:04:37,277 --> 00:04:40,580 And then what happens? Then... 92 00:04:40,614 --> 00:04:42,049 By the time they’re swinging back and preparing 93 00:04:42,082 --> 00:04:44,551 to come forward, the story is in your hands there. 94 00:04:44,584 --> 00:04:45,952 What happens over here? 95 00:04:45,986 --> 00:04:48,388 CRYSTAL: I usually start every creation I do 96 00:04:48,421 --> 00:04:50,056 by building choreographic material. 97 00:04:50,090 --> 00:04:53,727 So a bunch of choreographic phrases that everybody learns, 98 00:04:53,760 --> 00:04:55,895 it becomes like the language of the piece. 99 00:04:55,929 --> 00:04:57,164 It becomes like a shared language. 100 00:04:57,197 --> 00:04:58,598 CRYSTAL: Okay, great. 101 00:04:58,632 --> 00:05:00,267 So from here, again, you want to feel the weight 102 00:05:00,300 --> 00:05:01,835 of the world on your shoulders. 103 00:05:01,868 --> 00:05:03,103 You want to feel like the only reason you’re standing at all 104 00:05:03,136 --> 00:05:05,171 is because you’re helping yourself by having your hands 105 00:05:05,205 --> 00:05:07,240 on your knees. Right? 106 00:05:07,274 --> 00:05:08,842 Right? 107 00:05:08,875 --> 00:05:11,177 I mean, the weight of my head and the shape of my shoulders, 108 00:05:11,211 --> 00:05:15,449 the feeling of like needing, you know, needing a moment, 109 00:05:15,482 --> 00:05:19,019 that’s inherent in that image. 110 00:05:19,052 --> 00:05:21,855 The relationship of our head to our shoulders, 111 00:05:21,888 --> 00:05:24,290 it tells a lot about how we think 112 00:05:24,324 --> 00:05:26,193 or what we’re searching for 113 00:05:26,226 --> 00:05:28,695 or how we’re thinking or how we’ve, 114 00:05:28,728 --> 00:05:30,029 you know, if we’re retreating. 115 00:05:30,063 --> 00:05:32,432 So all of this, just even the head alone in relationship 116 00:05:32,465 --> 00:05:35,735 to the shoulders, it’s already so much story in it. 117 00:05:35,769 --> 00:05:40,107 So I guess just after, you know, so many decades of staring at... 118 00:05:40,140 --> 00:05:42,809 at people and staring at bodies and understanding 119 00:05:42,843 --> 00:05:46,146 all those mechanics and relationships, I... 120 00:05:46,179 --> 00:05:49,215 yeah, it’s a kind of language that I speak quite fluently. 121 00:05:49,249 --> 00:05:52,119 It’s just about putting these things in combination, 122 00:05:52,152 --> 00:05:54,988 in a certain combination to try to get an idea across. 123 00:05:55,021 --> 00:05:56,256 Hands too. 124 00:05:56,289 --> 00:06:01,194 Hands are so much-- there’s so much story in our hands. 125 00:06:01,228 --> 00:06:04,398 So I’ve been learning a lot over the years about how the fingers 126 00:06:04,431 --> 00:06:08,335 can create the appearance of pain, or fear, or... 127 00:06:08,368 --> 00:06:10,904 There’s so much just in our hands alone. 128 00:06:10,937 --> 00:06:13,840 I really enjoy pulling those things apart 129 00:06:13,874 --> 00:06:17,845 and finding meaning in all those gestures and postures. 130 00:06:17,878 --> 00:06:18,979 Mm. 131 00:06:25,585 --> 00:06:26,953 CRYSTAL: [murmuring rhythm] 132 00:06:32,225 --> 00:06:34,761 CRYSTAL: That’s it! Yeah. 133 00:06:37,564 --> 00:06:40,734 [whispers] What else was there? 134 00:06:40,767 --> 00:06:42,736 I kind of just got lost in it just then. 135 00:06:42,769 --> 00:06:44,371 I was just kind of enjoying it. 136 00:06:44,404 --> 00:06:45,639 I didn’t really have a lot of-- 137 00:06:45,672 --> 00:06:47,741 wasn’t really using my critical eye. 138 00:06:47,774 --> 00:06:49,776 I was just, like, so touched to see you dance 139 00:06:49,809 --> 00:06:51,577 and just to be here. It’s already a lot. 140 00:06:51,611 --> 00:06:53,813 Thank you so much, everybody. 141 00:06:53,847 --> 00:06:57,451 So satisfying to see you in real life. 142 00:06:57,484 --> 00:06:59,886 Yeah, dancing so beautifully. 143 00:06:59,920 --> 00:07:01,822 Wow. 144 00:07:01,855 --> 00:07:04,091 SIPHE: I was lucky enough to have been part of the creation 145 00:07:04,124 --> 00:07:07,494 of the piece, and I think that really helped me develop 146 00:07:07,527 --> 00:07:10,663 in the work because we got to explore together. 147 00:07:10,697 --> 00:07:12,732 So it was really a moment to kind of get in touch 148 00:07:12,766 --> 00:07:16,937 with how we wanted our bodies to move. 149 00:07:16,970 --> 00:07:21,208 Every part of your body is alive at all times. 150 00:07:21,241 --> 00:07:23,677 Every part of your body tells a story, 151 00:07:23,710 --> 00:07:27,080 and they all have a role to play in making the dance happen. 152 00:07:27,113 --> 00:07:30,917 And I think that’s what Crystal’s work for me is doing. 153 00:07:30,951 --> 00:07:33,720 You know, your whole being has to be in it. 154 00:07:33,753 --> 00:07:36,055 CRYSTAL: Right, we have a whole note there. 155 00:07:36,089 --> 00:07:38,391 It’s gonna be so good. 156 00:07:38,425 --> 00:07:40,294 I think you should start the whole business 157 00:07:40,327 --> 00:07:43,931 of pulling him a little earlier. 158 00:07:43,964 --> 00:07:45,199 Like, your timing’s good. 159 00:07:45,231 --> 00:07:46,365 Before you lift your chin. 160 00:07:46,399 --> 00:07:47,700 JENNA: Okay. CRYSTAL: Yeah. 161 00:07:47,734 --> 00:07:50,237 So, you see that and then you look out forever. 162 00:07:50,270 --> 00:07:52,773 And then I would say you don’t have to look at everybody again 163 00:07:52,806 --> 00:07:54,074 on the way back. 164 00:07:54,107 --> 00:07:56,209 Then you’re just busy with what’s ever holding onto you. 165 00:07:56,242 --> 00:08:00,847 Yeah, so spend your time seeing all the losses, all the losses, 166 00:08:00,880 --> 00:08:04,584 and then out beyond, up the hill. 167 00:08:04,617 --> 00:08:06,152 And then immediately your attention comes 168 00:08:06,186 --> 00:08:09,089 to your left hand, and you look down to this one. 169 00:08:09,122 --> 00:08:11,524 JENNA: It asks for extreme focus, 170 00:08:11,558 --> 00:08:14,728 and it’s so detailed in where your fingers are placed 171 00:08:14,761 --> 00:08:17,497 and where your eye focus is and where you initiate 172 00:08:17,530 --> 00:08:19,032 the movement from. 173 00:08:19,065 --> 00:08:22,368 It’s so intricate, and that’s what makes it so special 174 00:08:22,402 --> 00:08:24,771 and moving. 175 00:08:24,804 --> 00:08:28,541 And that all comes from an emotional place. 176 00:08:28,575 --> 00:08:30,343 CRYSTAL: I have to stop. I have to stop, right? 177 00:08:30,377 --> 00:08:31,778 Sorry, time. 178 00:08:31,811 --> 00:08:33,246 Thanks very much, everybody. We’ll see you tonight. 179 00:08:33,279 --> 00:08:34,547 Thank you. Thank you. 180 00:08:34,581 --> 00:08:38,018 [dancers clapping] 181 00:08:38,051 --> 00:08:42,355 DANCER: Oh, sorry. DANCER 2: Oh, I’m so sorry. 182 00:08:42,389 --> 00:08:44,858 SPENCER: It feels like you’re kind of dancing on the edge, 183 00:08:44,891 --> 00:08:46,359 a little bit. 184 00:08:46,393 --> 00:08:49,096 To do her work well, there has to be 185 00:08:49,129 --> 00:08:52,265 a certain element of risk to it. 186 00:08:52,298 --> 00:08:54,901 And so with risk comes uncertainty. 187 00:08:54,934 --> 00:08:56,769 SPENCER: Maybe I’ll step a little bit less-- 188 00:08:56,803 --> 00:08:58,271 GENEVIEVE: And I’ll step a little bit more. 189 00:08:58,304 --> 00:08:59,272 SPENCER: A little bit more, okay. 190 00:08:59,305 --> 00:09:00,473 GENEVIEVE: In the middle. SPENCER: Perfect. 191 00:09:00,507 --> 00:09:01,875 GENEVIEVE: Perfect. Cool. 192 00:09:01,908 --> 00:09:03,476 Can we ask for notes? 193 00:09:03,510 --> 00:09:04,578 SPENCER: Maybe we’ll linger. 194 00:09:04,611 --> 00:09:05,645 GENEVIEVE: Yeah, we’ll linger and be like, 195 00:09:05,678 --> 00:09:07,013 "Can we get some notes?" 196 00:09:07,047 --> 00:09:08,982 CRYSTAL: What did you just think of that just now? 197 00:09:09,015 --> 00:09:12,652 CHELSY: Yeah, I should just really let the air totally... 198 00:09:12,685 --> 00:09:14,153 CRYSTAL: You won’t overdo it. 199 00:09:14,187 --> 00:09:16,056 CHELSY: I know it’s important. CRYSTAL: Only under-do it. 200 00:09:16,089 --> 00:09:17,390 CHELSY: I know it’s important. 201 00:09:17,424 --> 00:09:18,659 CRYSTAL: It’s gonna be great. 202 00:09:18,691 --> 00:09:20,326 The longer you stay, the better it’s gonna get. 203 00:09:20,360 --> 00:09:21,528 CHELSY: Thank you. CRYSTAL: Thank you! 204 00:09:21,561 --> 00:09:23,496 CHELSY: Thank you for trusting me in this moment! 205 00:09:23,530 --> 00:09:26,400 CRYSTAL: Of course! I’m excited to see you do it. 206 00:09:26,433 --> 00:09:27,534 CHELSY: Yeah. So thank you! 207 00:09:27,567 --> 00:09:30,737 CRYSTAL: See you in a bit. 208 00:09:30,770 --> 00:09:32,672 CRYSTAL: Hey! 209 00:09:32,705 --> 00:09:35,675 SPENCER: Genevieve and I were just wondering if you had any... 210 00:09:35,708 --> 00:09:37,877 CRYSTAL: I do, but I don’t want-- am I allowed to...? 211 00:09:37,911 --> 00:09:39,846 SPENCER: We’re volunteering time. 212 00:09:39,879 --> 00:09:41,848 CRYSTAL: Okay, should I just talk to you backstage for a sec? 213 00:09:41,881 --> 00:09:43,015 SPENCER: Sure, yeah. CRYSTAL: Okay. 214 00:09:43,049 --> 00:09:44,517 CRYSTAL: I was thinking in the last duet... 215 00:09:44,551 --> 00:09:46,186 SPENCER: Mm-hm. 216 00:09:46,219 --> 00:09:48,254 CRYSTAL: ...I wondered if there may be a couple more 217 00:09:48,288 --> 00:09:49,523 opportunities for you to see each other. 218 00:09:49,556 --> 00:09:51,758 Is there a place or two in that zone 219 00:09:51,791 --> 00:09:53,526 where you could actually see... GENEVIEVE: Yeah. 220 00:09:53,560 --> 00:09:54,594 CRYSTAL: ...Spencer for a moment? 221 00:09:54,627 --> 00:09:55,862 I bet there is. GENEVIEVE: Yeah. 222 00:09:55,895 --> 00:09:59,732 CRYSTAL: I can’t think of what they are. 223 00:09:59,766 --> 00:10:01,868 GENEVIEVE: Probably when I come down to the knee here. 224 00:10:01,901 --> 00:10:04,036 CRYSTAL: Yeah. Yes, yes, yes, yes! 225 00:10:04,070 --> 00:10:05,538 That’s another spot, yes. 226 00:10:05,572 --> 00:10:08,275 In this lift, when he gets his hands underneath, 227 00:10:08,308 --> 00:10:09,376 and you’re in the corner, 228 00:10:09,409 --> 00:10:11,378 keep the feeling of corner in your body. 229 00:10:11,411 --> 00:10:13,747 Sometimes-- it’s actually probably more you. 230 00:10:13,780 --> 00:10:15,448 It swings this way a little too soon. 231 00:10:15,482 --> 00:10:17,217 And then you can go bigger with your head. 232 00:10:17,250 --> 00:10:18,718 Yeah, you can go farther with this. 233 00:10:18,751 --> 00:10:19,785 Yeah. 234 00:10:19,819 --> 00:10:21,654 And then you want to feel it in your knees. 235 00:10:21,688 --> 00:10:23,557 Yeah, so you’re all in the head, head, head, head, 236 00:10:23,590 --> 00:10:25,058 and then your knees give out. GENEVIEVE: Okay. 237 00:10:25,091 --> 00:10:27,560 CRYSTAL: And that’s why you go down, weakness. 238 00:10:27,594 --> 00:10:28,895 Yeah, and then once you hit the floor, 239 00:10:28,928 --> 00:10:32,064 I feel like you can think of peppering the improv 240 00:10:32,098 --> 00:10:33,566 with a little bit more... 241 00:10:33,600 --> 00:10:35,836 so a little more jaggedy edges and a little more pain. 242 00:10:35,869 --> 00:10:38,772 So, you have a beautiful sense of your feet, 243 00:10:38,805 --> 00:10:40,940 the complexity of your spine, the relationship of your feet 244 00:10:40,974 --> 00:10:41,842 and your head, gorgeous! 245 00:10:41,875 --> 00:10:43,577 But I feel like your hands might-- 246 00:10:43,610 --> 00:10:45,745 could animate a little bit more. 247 00:10:45,778 --> 00:10:49,148 Like the way maybe your elbows could hit the ground, 248 00:10:49,182 --> 00:10:51,651 that there’s a feeling of... 249 00:10:51,684 --> 00:10:53,152 You know, like you’re-- GENEVIEVE: Yes. 250 00:10:53,186 --> 00:10:55,522 CRYSTAL: There’s an awareness in your hands of pain, 251 00:10:55,555 --> 00:10:59,659 or of losing, failing, suffering, yeah? 252 00:10:59,692 --> 00:11:01,527 And when it’s soft in your hands and it feels almost like 253 00:11:01,561 --> 00:11:04,697 you’re in a good place, but you’re not. 254 00:11:04,731 --> 00:11:07,534 So I think we just sort of jaggedy... 255 00:11:07,567 --> 00:11:08,968 I think pain in your hands, 256 00:11:09,002 --> 00:11:12,372 sometimes you can think even like your hands are... 257 00:11:12,405 --> 00:11:15,208 are an outward reflection of some pain 258 00:11:15,241 --> 00:11:17,910 that’s happening inside. 259 00:11:17,944 --> 00:11:19,078 You know, like we do. 260 00:11:19,112 --> 00:11:20,480 GENEVIEVE: Yeah. CRYSTAL: Ow, ah! 261 00:11:20,513 --> 00:11:22,281 Right? So I think if we add that in, 262 00:11:22,315 --> 00:11:24,384 I think we’ll get the sense of... 263 00:11:24,417 --> 00:11:27,153 of suffering, a little bit more. 264 00:11:27,187 --> 00:11:28,722 Yeah. 265 00:11:28,755 --> 00:11:30,590 That’s gonna be beautiful. 266 00:11:45,738 --> 00:11:49,542 [indistinct conversation] 267 00:11:53,112 --> 00:11:56,415 CRYSTAL: The light itself has this... intelligence. 268 00:11:56,449 --> 00:11:58,685 It seems chaotic 269 00:11:58,718 --> 00:12:01,020 and it seems benign 270 00:12:01,054 --> 00:12:03,823 and it seems otherworldly. 271 00:12:03,856 --> 00:12:08,294 I wanted to draw a line of meaning between the ephemerality 272 00:12:08,328 --> 00:12:12,499 and the unknowable forces of that light, to... 273 00:12:12,532 --> 00:12:15,301 to choreography itself, to the dancing body. 274 00:12:15,335 --> 00:12:17,804 And there’s something in the movement of the light, 275 00:12:17,837 --> 00:12:20,873 this kind of mercurial movement 276 00:12:20,907 --> 00:12:23,810 that connects me to what dance actually is. 277 00:12:23,843 --> 00:12:25,878 That it’s a heightened experience 278 00:12:25,912 --> 00:12:28,581 of the present moment. 279 00:12:28,615 --> 00:12:30,383 CRYSTAL: Hey, guys, do you think you’re pretty much done? 280 00:12:30,416 --> 00:12:32,852 I think we’d love to just kind of wing the rest 281 00:12:32,885 --> 00:12:34,153 if you’re close to finishing. 282 00:12:34,187 --> 00:12:35,488 I don’t know if there’s anything else. 283 00:12:35,521 --> 00:12:37,723 HANNAH: I’ve known Siphe since I was 13. 284 00:12:37,757 --> 00:12:40,326 I feel like our relationship, it’s ebbed and flowed, 285 00:12:40,360 --> 00:12:42,262 and we’ve watched each other grow, 286 00:12:42,295 --> 00:12:45,064 not only personally but artistically. 287 00:12:45,098 --> 00:12:49,569 So to share in such like an intimate moment and piece 288 00:12:49,602 --> 00:12:53,005 with him, it reminds me of like everything we’ve gone through. 289 00:12:53,039 --> 00:12:57,210 It’s like this through-line that we’ve had our entire lives 290 00:12:57,243 --> 00:13:00,580 of knowing each other. 291 00:13:00,613 --> 00:13:02,615 SIPHE: The different groups coming in and leaving 292 00:13:02,649 --> 00:13:06,786 and the lifts and the movement 293 00:13:06,819 --> 00:13:09,188 and watching it all happen. 294 00:13:09,222 --> 00:13:13,293 It’s almost like a flock of beings moving, 295 00:13:13,326 --> 00:13:15,495 finding their space, you know, leaving each other, 296 00:13:15,528 --> 00:13:18,965 finding each other, supporting each other, connected. 297 00:13:18,998 --> 00:13:23,135 There’s a synergy in our individuality. 298 00:13:23,169 --> 00:13:26,172 CRYSTAL: When the personal and the universal can be held 299 00:13:26,205 --> 00:13:28,808 in a kind of tension, then I feel like that’s the place 300 00:13:28,841 --> 00:13:29,975 where I do the choreography, 301 00:13:30,009 --> 00:13:31,511 that’s the place where I create the piece, 302 00:13:31,544 --> 00:13:33,513 in trying to reconcile those two things, 303 00:13:33,546 --> 00:13:36,649 things that just feel like they come from within myself 304 00:13:36,683 --> 00:13:40,820 and things that are impossibly far and colossal. 305 00:13:40,853 --> 00:13:42,355 I also like working in a form 306 00:13:42,388 --> 00:13:44,590 that is always in a state of disappearing. 307 00:13:44,624 --> 00:13:47,760 I like how it brings our attention to the present moment, 308 00:13:47,794 --> 00:13:49,396 to what’s important, 309 00:13:49,429 --> 00:13:52,866 and how kind of tenuous and ephemeral it all is. 310 00:13:52,899 --> 00:13:54,401 I think there’s something beautiful there. 311 00:13:54,434 --> 00:13:58,672 I feel like our bodies are our location, 312 00:13:58,705 --> 00:14:02,642 and when we dance, we’re just fully engaged in being there. 313 00:14:13,186 --> 00:14:15,655 CRYSTAL: There’s something fiercely defiant 314 00:14:15,688 --> 00:14:17,089 in the dancing body. 315 00:14:17,123 --> 00:14:19,559 So even though dancing is always in a state of disappearing 316 00:14:19,592 --> 00:14:21,727 and that the dancers are just temporary, 317 00:14:21,761 --> 00:14:24,998 there is something very powerful in seeing people striving, 318 00:14:25,031 --> 00:14:26,766 seeing people full of effort, 319 00:14:26,799 --> 00:14:29,101 full of longing, full of energy. 320 00:14:29,135 --> 00:14:32,238 [dancers breathing heavily] 321 00:14:32,271 --> 00:14:33,739 DANCER: Oh, no! DANCER 2: Shit. 322 00:14:33,773 --> 00:14:34,941 DANCER 3: I need to sit. 323 00:14:34,974 --> 00:14:36,943 I need to sit. I don’t think I’ll stand again. 324 00:14:36,976 --> 00:14:41,647 [dancers breathing heavily] 325 00:14:48,488 --> 00:14:51,091 ♪ 326 00:14:51,124 --> 00:14:53,426 CRYSTAL: There’s this play between our instincts 327 00:14:53,459 --> 00:14:55,861 and our intellects when we’re dancing. 328 00:14:55,895 --> 00:14:58,631 The tension or the conversation between instinct and intellect, 329 00:14:58,664 --> 00:15:00,633 inside that space, there’s some 330 00:15:00,666 --> 00:15:05,304 possibility for transformation. 331 00:15:05,338 --> 00:15:08,074 A little glimpse of something that’s bigger than us. 332 00:15:08,107 --> 00:15:11,944 And when I see a dancer giving in to what they 333 00:15:11,978 --> 00:15:13,713 know through their instincts, 334 00:15:13,746 --> 00:15:17,617 giving in to gravity or inertia 335 00:15:17,650 --> 00:15:20,386 and just writing all the work that they’ve done, 336 00:15:20,420 --> 00:15:22,589 they feel like they’re just being danced. 337 00:15:22,622 --> 00:15:25,225 They’re being danced by unknowable forces, 338 00:15:25,258 --> 00:15:27,393 but they’re also being danced by the choreography itself. 339 00:15:27,427 --> 00:15:29,996 They’re being danced by gravity and inertia 340 00:15:30,029 --> 00:15:31,731 and momentum and effort. 341 00:15:31,764 --> 00:15:35,134 I really love trying to get at that. 342 00:15:35,168 --> 00:15:37,170 Trying to cultivate that in dancers. 343 00:15:37,203 --> 00:15:39,238 Has to do with being in a state of striving 344 00:15:39,272 --> 00:15:40,940 and being in a state of listening 345 00:15:40,973 --> 00:15:43,509 at the same time. 346 00:15:43,543 --> 00:15:46,012 I think. 347 00:15:49,782 --> 00:15:51,484 It’s trust also. 348 00:15:52,885 --> 00:15:56,455 A sense of... of release. 349 00:16:00,793 --> 00:16:04,230 Yeah. Of giving oneself up 350 00:16:04,263 --> 00:16:06,432 to all those possibilities 351 00:16:06,466 --> 00:16:09,869 that come from... 352 00:16:09,902 --> 00:16:12,171 from a body in motion. 353 00:16:16,075 --> 00:16:17,376 I didn’t say that very well at the end there. 354 00:16:17,410 --> 00:16:18,912 That didn’t really work very well. 355 00:16:18,945 --> 00:16:21,214 I was trying to say it differently. 356 00:16:21,247 --> 00:16:22,215 Mmm. 357 00:16:22,248 --> 00:16:25,051 You’ll-- you’ll piece it together. 358 00:16:25,084 --> 00:16:26,452 It’s not just like, you know, like, 359 00:16:26,486 --> 00:16:29,055 "Hoo, just release and like hope that..." 360 00:16:29,088 --> 00:16:32,058 No, it actually comes through intense, rigorous 361 00:16:32,091 --> 00:16:34,427 striving and effort and work 362 00:16:34,460 --> 00:16:37,430 to try to create the conditions for that to happen. 363 00:16:37,463 --> 00:16:39,165 Um... 364 00:16:39,198 --> 00:16:41,400 I’ve seen that over and over again. 365 00:16:41,434 --> 00:16:42,735 It’s, um... 366 00:16:42,768 --> 00:16:44,103 I know it in myself as a creator, 367 00:16:44,136 --> 00:16:46,138 but I also know it in the artists that I work with. 368 00:16:46,172 --> 00:16:48,808 When I see them at their limit, I see them just at the limit 369 00:16:48,841 --> 00:16:51,744 of what they can handle physically... 370 00:16:51,777 --> 00:16:55,814 then I feel like that’s the place where we really see... 371 00:16:55,848 --> 00:16:59,185 see glimpses of something bigger than us. 372 00:16:59,218 --> 00:17:03,723 ♪ 373 00:17:03,756 --> 00:17:07,627 ♪ 374 00:17:07,660 --> 00:17:11,197 ♪ 375 00:17:11,230 --> 00:17:15,267 ♪ 376 00:17:15,301 --> 00:17:19,038 ♪ 377 00:17:19,071 --> 00:17:22,541 ♪ 378 00:17:22,575 --> 00:17:25,445 ♪ 379 00:17:25,478 --> 00:17:31,384 [classical music playing in background] 380 00:17:31,417 --> 00:17:36,088 [classical music playing in background] 381 00:17:40,927 --> 00:17:47,233 SIPHE: [counting to himself] 382 00:17:47,266 --> 00:17:53,272 [classical music playing in background] 383 00:18:08,721 --> 00:18:12,391 [classical music playing] 384 00:18:12,425 --> 00:18:16,029 ♪ 385 00:18:16,062 --> 00:18:20,633 ♪ 386 00:18:20,666 --> 00:18:24,370 ♪ 387 00:18:24,403 --> 00:18:28,774 ♪ 388 00:18:28,808 --> 00:18:33,112 ♪ 389 00:18:33,145 --> 00:18:36,782 ♪ 390 00:18:36,816 --> 00:18:41,154 ♪ 391 00:18:41,187 --> 00:18:44,023 ♪ 392 00:18:50,963 --> 00:18:56,035 [indistinct conversations] 393 00:19:04,844 --> 00:19:06,646 CRYSTAL: I’m gonna go. I’m not gonna linger, then. 394 00:19:06,679 --> 00:19:07,813 SIPHE: Yeah. [chuckles] 395 00:19:07,847 --> 00:19:09,349 CRYSTAL: Okay. Toi toi toi, everybody. 396 00:19:09,382 --> 00:19:10,617 Have a wonderful time out there. 397 00:19:10,650 --> 00:19:12,252 I’ll see you on the other side. 398 00:19:12,284 --> 00:19:13,452 Thank you so much. 399 00:19:13,486 --> 00:19:14,821 Enjoy, enjoy, enjoy. 400 00:19:14,854 --> 00:19:16,422 I know I will. 401 00:19:16,455 --> 00:19:18,157 Okay, I’ll see you soon. Okay, thanks. 402 00:19:18,190 --> 00:19:21,160 [dancers clapping] 403 00:19:27,333 --> 00:19:30,136 HANNAH: When I’m, like, really present, 404 00:19:30,169 --> 00:19:31,704 it’s... 405 00:19:31,737 --> 00:19:36,275 very emotional and overwhelming, 406 00:19:36,308 --> 00:19:40,279 and this, like, feeling of... 407 00:19:40,312 --> 00:19:45,050 yearning for something or somebody, or like this pain. 408 00:19:45,084 --> 00:19:49,388 ♪ 409 00:19:49,422 --> 00:19:51,157 ♪ 410 00:19:51,190 --> 00:19:53,025 SIPHE: I don’t really think about it that much 411 00:19:53,059 --> 00:19:55,862 when I’m performing. 412 00:19:55,895 --> 00:19:57,964 But again, it’s just that fight that 413 00:19:57,997 --> 00:20:00,733 as your breath is leaving you and you’re fighting to, like, 414 00:20:00,766 --> 00:20:02,501 catch it, you know, and it’s just like... 415 00:20:02,535 --> 00:20:03,736 [inhales] 416 00:20:03,769 --> 00:20:06,305 ...you’re trying to catch it, 417 00:20:06,338 --> 00:20:10,075 and it just slowly dissipates. 418 00:20:10,109 --> 00:20:14,747 And that image lives, I guess, in my mind. 419 00:20:14,780 --> 00:20:18,050 ♪ 420 00:20:18,084 --> 00:20:22,188 I started this thing with the dancers where we all take 421 00:20:22,221 --> 00:20:23,889 two deep breaths together 422 00:20:23,923 --> 00:20:26,559 before we lay down to begin the piece. 423 00:20:26,592 --> 00:20:29,395 That’s the most important part of my preparation, 424 00:20:29,428 --> 00:20:33,999 the fact that we can all breathe as one and carry that into 425 00:20:34,033 --> 00:20:36,736 where we sit and where we lay down, 426 00:20:36,769 --> 00:20:38,504 and then hopefully as we dance, 427 00:20:38,537 --> 00:20:42,207 you know, that’s something that connects us throughout the work. 428 00:20:45,578 --> 00:20:47,280 GENEVIEVE: When we were all laying on the floor 429 00:20:47,313 --> 00:20:50,716 on the first night of the show, I know I felt that, like... 430 00:20:50,750 --> 00:20:53,219 there’s that moment of watching almost like our very own 431 00:20:53,252 --> 00:20:57,089 light show, and I feel like 432 00:20:57,123 --> 00:20:59,092 it’s like a private moment almost, 433 00:20:59,125 --> 00:21:01,260 but we were all doing it together. 434 00:21:01,293 --> 00:21:04,863 HANNAH: When I’m lying there, I’m thinking of my parents. 435 00:21:04,897 --> 00:21:08,334 I can’t imagine what it will be like when my parents are gone. 436 00:21:08,367 --> 00:21:13,372 And that kind of feeling of like losing somebody, or... 437 00:21:13,405 --> 00:21:14,706 HEATHER: Honestly, when I’m laying there, 438 00:21:14,740 --> 00:21:16,342 I’m thinking of a lot of the people that 439 00:21:16,375 --> 00:21:17,810 I don’t get to see anymore. 440 00:21:17,843 --> 00:21:21,313 And I think of the people who are maybe watching over me 441 00:21:21,347 --> 00:21:23,816 and, you know, I’m hoping to do my best, but I’m like, 442 00:21:23,849 --> 00:21:24,983 "Just watch out for me." 443 00:21:25,017 --> 00:21:28,654 Kind of like ask for a little, like... 444 00:21:28,687 --> 00:21:30,989 moment of their time, kind of thing. 445 00:21:31,023 --> 00:21:34,260 JENNA: Maybe we just want a little bit more time 446 00:21:34,293 --> 00:21:36,162 on this Earth. 447 00:21:36,195 --> 00:21:39,331 That’s sort of the feeling that I see. 448 00:21:39,365 --> 00:21:40,666 Like just... 449 00:21:40,699 --> 00:21:44,503 Or spirits, or feelings descending on us, 450 00:21:44,537 --> 00:21:46,873 washing over us. 451 00:21:46,906 --> 00:21:50,410 That’s the feeling I get at the beginning of the ballet, 452 00:21:50,442 --> 00:21:55,113 seeing the dust, if you will, settle. 453 00:22:03,989 --> 00:22:07,960 ♪ 454 00:22:07,993 --> 00:22:12,531 ♪ 455 00:22:12,565 --> 00:22:17,203 ♪ 456 00:22:17,236 --> 00:22:21,941 ♪ 457 00:22:21,974 --> 00:22:26,378 ♪ 458 00:22:26,412 --> 00:22:31,083 ♪ 459 00:22:31,116 --> 00:22:35,654 ♪ 460 00:22:35,688 --> 00:22:40,459 ♪ 461 00:22:40,492 --> 00:22:45,330 ♪ 462 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00:27:01,453 --> 00:27:05,924 ♪ 518 00:27:05,958 --> 00:27:10,496 ♪ 519 00:27:10,529 --> 00:27:15,167 ♪ 520 00:27:15,200 --> 00:27:19,905 ♪ 521 00:27:19,938 --> 00:27:24,342 ♪ 522 00:27:24,376 --> 00:27:29,047 ♪ 523 00:27:29,081 --> 00:27:33,619 ♪ 524 00:27:33,652 --> 00:27:38,423 ♪ 525 00:27:38,457 --> 00:27:43,295 ♪ 526 00:27:43,328 --> 00:27:48,200 ♪ 527 00:27:48,233 --> 00:27:52,971 ♪ 528 00:27:53,005 --> 00:27:57,643 ♪ 529 00:27:57,676 --> 00:28:02,481 ♪ 530 00:28:02,514 --> 00:28:06,852 ♪ 531 00:28:06,885 --> 00:28:11,056 ♪ 532 00:28:11,089 --> 00:28:16,027 ♪ 533 00:28:16,061 --> 00:28:20,332 ♪ 534 00:28:20,365 --> 00:28:25,070 ♪ 535 00:28:25,103 --> 00:28:29,541 ♪ 536 00:28:29,575 --> 00:28:34,346 ♪ 537 00:28:34,379 --> 00:28:38,950 ♪ 538 00:28:38,984 --> 00:28:43,455 ♪ 539 00:28:43,488 --> 00:28:48,226 ♪ 540 00:28:48,260 --> 00:28:53,031 ♪ 541 00:28:53,065 --> 00:28:57,903 ♪ 542 00:28:57,936 --> 00:29:02,507 ♪ 543 00:29:02,541 --> 00:29:07,312 ♪ 544 00:29:07,346 --> 00:29:12,184 ♪ 545 00:29:12,217 --> 00:29:17,055 ♪ 546 00:29:17,089 --> 00:29:21,260 ♪ 547 00:29:21,293 --> 00:29:25,497 ♪ 548 00:29:25,530 --> 00:29:27,399 ♪ 549 00:30:05,137 --> 00:30:09,274 ♪ 550 00:30:09,308 --> 00:30:13,979 ♪ 551 00:30:14,012 --> 00:30:18,450 ♪ 552 00:30:18,483 --> 00:30:23,221 ♪ 553 00:30:23,255 --> 00:30:27,659 ♪ 554 00:30:27,693 --> 00:30:32,398 ♪ 555 00:30:32,431 --> 00:30:37,136 ♪ 556 00:30:37,169 --> 00:30:41,940 ♪ 557 00:30:41,973 --> 00:30:46,611 ♪ 558 00:30:46,645 --> 00:30:51,483 ♪ 559 00:30:51,516 --> 00:30:56,287 ♪ 560 00:30:56,321 --> 00:31:01,092 ♪ 561 00:31:01,126 --> 00:31:05,964 ♪ 562 00:31:05,997 --> 00:31:10,201 ♪ 563 00:31:10,235 --> 00:31:14,372 ♪ 564 00:31:14,406 --> 00:31:19,378 ♪ 565 00:31:19,411 --> 00:31:23,649 ♪ 566 00:31:23,682 --> 00:31:28,387 ♪ 567 00:31:28,420 --> 00:31:33,058 ♪ 568 00:31:33,091 --> 00:31:37,629 ♪ 569 00:31:37,662 --> 00:31:42,267 ♪ 570 00:31:42,300 --> 00:31:46,971 ♪ 571 00:31:47,005 --> 00:31:51,576 ♪ 572 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00:39:47,085 ♪ 655 00:39:47,118 --> 00:39:51,889 ♪ 656 00:39:51,923 --> 00:39:56,561 ♪ 657 00:39:56,594 --> 00:40:01,432 ♪ 658 00:40:01,466 --> 00:40:06,237 ♪ 659 00:40:06,271 --> 00:40:11,109 ♪ 660 00:40:11,142 --> 00:40:15,980 ♪ 661 00:40:16,014 --> 00:40:20,218 ♪ 662 00:40:20,251 --> 00:40:24,388 ♪ 663 00:40:24,422 --> 00:40:29,394 ♪ 664 00:40:29,427 --> 00:40:33,665 ♪ 665 00:40:33,698 --> 00:40:38,403 ♪ 666 00:40:38,436 --> 00:40:43,074 ♪ 667 00:40:43,107 --> 00:40:47,645 ♪ 668 00:40:47,679 --> 00:40:52,284 ♪ 669 00:40:52,317 --> 00:40:56,988 ♪ 670 00:40:57,021 --> 00:41:01,526 ♪ 671 00:41:01,559 --> 00:41:06,297 ♪ 672 00:41:06,331 --> 00:41:11,203 ♪ 673 00:41:11,235 --> 00:41:16,040 ♪ 674 00:41:16,074 --> 00:41:20,645 ♪ 675 00:41:20,678 --> 00:41:25,550 ♪ 676 00:41:25,583 --> 00:41:30,388 ♪ 677 00:41:30,421 --> 00:41:34,592 ♪ 678 00:41:34,625 --> 00:41:39,029 ♪ 679 00:41:45,770 --> 00:41:52,110 [sound of dancers breathing] 680 00:41:52,143 --> 00:41:58,449 [sound of dancers breathing] 681 00:42:32,650 --> 00:42:39,423 [breathing heavily] 682 00:42:41,592 --> 00:42:47,331 ♪ 683 00:42:47,365 --> 00:42:52,070 ♪ 684 00:42:52,103 --> 00:42:56,507 ♪ 685 00:42:56,541 --> 00:42:58,777 ♪ 686 00:43:01,946 --> 00:43:05,616 ♪ 687 00:43:05,650 --> 00:43:10,355 ♪ 688 00:43:10,388 --> 00:43:15,126 ♪ 689 00:43:15,159 --> 00:43:19,930 ♪ 690 00:43:19,964 --> 00:43:24,602 ♪ 691 00:43:24,635 --> 00:43:29,473 ♪ 692 00:43:29,507 --> 00:43:34,312 ♪ 693 00:43:34,345 --> 00:43:39,217 ♪ 694 00:43:39,250 --> 00:43:43,988 ♪ 695 00:43:44,021 --> 00:43:48,225 ♪ 696 00:43:48,259 --> 00:43:52,463 ♪ 697 00:43:52,497 --> 00:43:57,402 ♪ 698 00:43:57,435 --> 00:44:01,873 ♪ 699 00:44:01,906 --> 00:44:06,411 ♪ 700 00:44:06,444 --> 00:44:11,049 ♪ 701 00:44:11,082 --> 00:44:15,620 ♪ 702 00:44:15,653 --> 00:44:20,258 ♪ 703 00:44:20,291 --> 00:44:24,962 ♪ 704 00:44:24,996 --> 00:44:29,534 ♪ 705 00:44:29,567 --> 00:44:34,372 ♪ 706 00:44:34,405 --> 00:44:39,210 ♪ 707 00:44:39,243 --> 00:44:44,081 ♪ 708 00:44:44,115 --> 00:44:48,920 ♪ 709 00:44:48,953 --> 00:44:53,591 ♪ 710 00:44:53,624 --> 00:44:58,395 ♪ 711 00:44:58,429 --> 00:45:02,566 ♪ 712 00:45:02,600 --> 00:45:07,004 ♪ 713 00:45:07,038 --> 00:45:11,943 ♪ 714 00:45:11,976 --> 00:45:16,280 ♪ 715 00:45:16,314 --> 00:45:21,019 ♪ 716 00:45:21,052 --> 00:45:25,456 ♪ 717 00:45:25,489 --> 00:45:30,227 ♪ 718 00:45:30,261 --> 00:45:34,866 ♪ 719 00:45:34,899 --> 00:45:39,370 ♪ 720 00:45:39,403 --> 00:45:44,141 ♪ 721 00:45:44,175 --> 00:45:48,946 ♪ 722 00:45:48,980 --> 00:45:53,618 ♪ 723 00:45:53,651 --> 00:45:58,489 ♪ 724 00:45:58,522 --> 00:46:03,260 ♪ 725 00:46:03,294 --> 00:46:08,166 ♪ 726 00:46:08,199 --> 00:46:12,937 ♪ 727 00:46:12,970 --> 00:46:17,174 ♪ 728 00:46:17,208 --> 00:46:21,412 ♪ 729 00:46:21,445 --> 00:46:26,350 ♪ 730 00:46:26,384 --> 00:46:30,889 ♪ 731 00:46:30,921 --> 00:46:35,426 ♪ 732 00:46:35,459 --> 00:46:40,064 ♪ 733 00:46:40,097 --> 00:46:44,635 ♪ 734 00:46:44,669 --> 00:46:49,274 ♪ 735 00:46:49,307 --> 00:46:53,978 ♪ 736 00:46:54,011 --> 00:46:58,549 ♪ 737 00:46:58,582 --> 00:47:03,320 ♪ 738 00:47:03,354 --> 00:47:08,159 ♪ 739 00:47:08,192 --> 00:47:13,030 ♪ 740 00:47:13,064 --> 00:47:17,869 ♪ 741 00:47:17,902 --> 00:47:22,540 ♪ 742 00:47:22,573 --> 00:47:27,344 ♪ 743 00:47:27,378 --> 00:47:31,582 ♪ 744 00:47:31,615 --> 00:47:36,019 ♪ 745 00:47:36,053 --> 00:47:40,958 ♪ 746 00:47:40,991 --> 00:47:45,295 ♪ 747 00:47:45,329 --> 00:47:50,034 ♪ 748 00:47:50,067 --> 00:47:54,471 ♪ 749 00:47:54,505 --> 00:47:55,973 ♪ 750 00:47:58,275 --> 00:48:03,814 ♪ 751 00:48:03,848 --> 00:48:08,319 ♪ 752 00:48:08,352 --> 00:48:13,090 ♪ 753 00:48:13,124 --> 00:48:17,895 ♪ 754 00:48:17,928 --> 00:48:22,566 ♪ 755 00:48:22,600 --> 00:48:27,438 ♪ 756 00:48:27,471 --> 00:48:32,276 ♪ 757 00:48:32,309 --> 00:48:37,181 ♪ 758 00:48:37,214 --> 00:48:41,952 ♪ 759 00:48:41,986 --> 00:48:46,190 ♪ 760 00:48:46,223 --> 00:48:50,427 ♪ 761 00:49:24,195 --> 00:49:30,268 [applause] 762 00:49:35,306 --> 00:49:41,179 [applause continues] 763 00:49:53,290 --> 00:49:59,630 [applause continues] 764 00:50:06,170 --> 00:50:10,174 [applause continues] 765 00:50:20,985 --> 00:50:24,288 ♪ 766 00:50:24,321 --> 00:50:26,256 ♪ 767 00:50:26,290 --> 00:50:30,628 CRYSTAL: Ah, okay, that’s the first section. 768 00:50:30,661 --> 00:50:32,163 End of bell. 769 00:50:32,196 --> 00:50:34,298 Okay. 770 00:50:34,331 --> 00:50:38,001 [indistinct conversation] 771 00:50:38,035 --> 00:50:43,207 ♪ 772 00:50:43,240 --> 00:50:48,278 ♪ 773 00:50:48,312 --> 00:50:49,814 ♪ 774 00:50:49,847 --> 00:50:51,349 CRYSTAL: See what you see. 775 00:50:51,382 --> 00:50:53,017 Looks amazing out there, right? 776 00:50:53,050 --> 00:50:55,386 Yeah, right? 777 00:50:55,419 --> 00:50:56,787 It’s enormous! 778 00:50:56,820 --> 00:50:58,622 I don’t think I’ve ever stood here and really looked up 779 00:50:58,656 --> 00:51:01,626 all the way. 780 00:51:01,659 --> 00:51:03,060 It’s epic. 781 00:51:03,093 --> 00:51:05,228 Did it seem quite full last night when you were here, 782 00:51:05,262 --> 00:51:06,630 when you looked out? 783 00:51:06,664 --> 00:51:08,733 Lots of people out there? 784 00:51:08,766 --> 00:51:10,735 SCOTT: Especially the... NOAH: The energy was great. 785 00:51:10,768 --> 00:51:11,836 CRYSTAL: What’s that? 786 00:51:11,869 --> 00:51:13,070 SCOTT: The standing ovation at the end. 787 00:51:13,103 --> 00:51:14,571 CRYSTAL: Oh, right, yeah, yeah. 788 00:51:14,605 --> 00:51:16,740 I have a little experiment to do. 789 00:51:16,774 --> 00:51:19,076 I’m gonna do it with you, and then if it works, 790 00:51:19,109 --> 00:51:22,412 we’ll spread the word when the others arrive. 791 00:51:22,446 --> 00:51:27,117 I’m gonna tighten up a little bit the timing of, um... 792 00:51:27,151 --> 00:51:30,454 So this is towards the end of O Magnum. 793 00:51:30,487 --> 00:51:33,156 And you have... 794 00:51:33,190 --> 00:51:36,493 You have this change, and then you have, [sings note]. 795 00:51:36,527 --> 00:51:38,763 This, this thing. 796 00:51:38,796 --> 00:51:42,967 So, um, I want to go... 797 00:51:43,000 --> 00:51:44,268 Ah. 798 00:51:44,301 --> 00:51:45,435 DANCER: [laughs] 799 00:51:45,469 --> 00:51:48,105 CRYSTAL: That’s right. "Ah," that’s it. 800 00:51:48,138 --> 00:51:50,774 Because right now what we’re doing is, "ah," 801 00:51:50,808 --> 00:51:53,277 and then we have to put a whole bunch of this stuff in, 802 00:51:53,310 --> 00:51:55,445 and I’m not quite getting the stillness and silence 803 00:51:55,479 --> 00:51:57,047 that I want to get. 804 00:51:57,081 --> 00:51:59,483 There’s this cool thing that’s happening in the background... 805 00:51:59,516 --> 00:52:01,118 [voice fades out] 806 00:52:01,151 --> 00:52:06,923 ♪