In 'The One Who Falls,' three women and three men, in everyday clothes, negotiate each other while moving, often in unison, on a giant spinning tile.
I have ballet class every other day for two hours. And for 'Six Feet Under', last week there was a sequence where I had to do a whole choreographed dance number, so I had four hours of dance practice every day.
I grew up in the '80s, when breaking was cool, and then it got corny in the '90s, and it became cool again with all these choreographed B-Boy dance crews.
If a scene called for numerous Oompas to join in a narrative song and dance, I would perform the steps for all of them with subtle distinctions of expression and movement. When the images were joined with the help of a computer, I became an entire troupe.
Partner dancing is a cultured act.
When I'm doing TV, it's more of a choreographed dance, in a way. So I've got to follow the pictures, or the pictures have to follow me.
I liked the structure of ballet.
When dancing for mass numbers, you can throw your hands and legs anywhere, but contemporary dance is a whole different ball game. Every move has to be pointed, graceful and must look elegant. It's not easy trust me, but is a lot of fun nevertheless.
'Jersey Boys' was a lot of running around and a lot of energy, but it was more stylized movement.
'Rent-a-tile' means when you go to a dance hall, some people take the middle of the dance floor and do their thing.
In a ballet company, you're trying to create unison and uniform when you're in a cour de ballet.
