A Quote by Justin Peck
My philosophy on choreography is that the making of a ballet is a team effort, and we're in this together. It's not me hammering on them. It's more about how we can elevate this piece collectively to something great.
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In 1998, Vanity Fair asked me to write a big piece for them on the 50th anniversary of the New York City Ballet. My life, to a great extent, had been spent at and with the New York City Ballet, and I decided to try it. It was very scary, writing about something I loved so much and had such strong opinions about.
I love putting things together. I love putting together a team and making stuff with people. It's great, that's what's cool about movies it's such a collaborative effort.
The beach game taught me great lessons about how to elevate the play of my teammate, or teammates, and how to anticipate and expect the ball so much more than the indoor game ever could. It taught me - even forced me - to be a much better all-around player. That allowed me to help our USA Olympic Team in many more ways than I ever could have otherwise.
I've never conceptualized much of what I write about. Maybe, once I'm onto something, I'll conceptualize a finished record. I want the songs to tie together and make sense together. I'm not like, "Oh, I want to explore this idea." That's just not how the creative process works for me. It's more like something strikes me, or finds me, and then I wrestle with it after that. I don't sit back in my armchair, like, "What kind of philosophy can I explore today?"
I love music. I love making songs. I feel like I've been given a path where I can contribute, where I can protest if somebody does something really obviously wrong or inhuman right in front of me, where I can make a difference. Where I can most especially elevate, make you happy, elevate the condition, elevate the thing.
Bringing together disparate personalities to form a team is like a jigsaw puzzle. You have to ask yourself: what is the whole picture here? We want to make sure our players all fit together properly and complement each other, so that we don't have a big piece, a little piece, an oblong piece, and a round piece. If personalities work against each other, as a team you'll find yourselves spinning your wheels.
For me, movie-making is more than making a 'hit' film. It's about working with a team of people I really respect and doing something that gives me satisfaction.
Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.
There were some parts of the film [Swiss Army Man] that the Daniels [Kwan and Scheinert] really wanted to look as elegant as a piece of ballet. As Hank and Manny go on in the story, they get better and better at being with each other and more and more adept - Hank knows more and more what Manny's going to need at any given point, and having that choreography helps a bit.
It's about making sure we're there at the end of races and we get the best possible finish we can. What comes with that is being able to have realistic expectations and not trying to do something more than what the car is capable of, so it's a team effort for sure.
Choreography is amazing. I'm still a dancer, yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.
Dance has helped me with everything. It was a great foundation for discipline, hard work and, unfortunately, the ever-elusive idea of perfection. It lends itself easily to fight choreography, because that's what it really is. Choreography. And knowing how to move with someone.
In student government in high school, I learned how to deal with people, and in college I studied Eastern philosophy. I'm also an avid team-sports fan. I think I just blended them all together and came out with a business management philosophy that combines the Eastern ethic with the Western sport concept, basically.
Capoeira was designed to look like a dance, and it's actually an incredibly effective means of fighting. Fighting is dancing. Look at a great boxing match, and it's a dancing. That's what's great about the choreography that goes on here. It's a delicate ballet with a fist in the face.
The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'
You must fully understand, strongly believe in, and be totally committed to your trading philosophy. In order to achieve that mental state, you have to do a great deal of independent research. A trading philosophy is something that cannot just be transferred from one person to another; it's something that you have to acquire yourself through time and effort.
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