Ballet 422 Page #2

Synopsis: Ballet 422 is a record of the creative process of a young choreographer Justin Peck, just 26 years old, hired to create a new ballet for the winter season of the New York City Ballet in 2013. The New York City Ballet is considered one of the best companies in the world. Since 1990 he is led by Peter Martins, his Ballet Master in Chief. The documentary describes the intense backstage work that takes place during the process of creating and learning this new ballet: "Paz de la Jolla". It shows Peck working with his fellow dancers (Justin Peck is also a soloist at NYCB!), with musicians, lighting technicians, and costume designers in the composition of a new work, his third creation for the NYCB. It is the first time the New York City Ballet is exposed during the creation of a new a ballet.
Director(s): Jody Lee Lipes
Production: Magnolia Pictures
  1 win & 3 nominations.
 
IMDB:
6.2
Metacritic:
74
Rotten Tomatoes:
86%
PG
Year:
2014
75 min
$332,843
Website
61 Views


- Yeah.

You know, when we bourre back

for the girls,

we're bourreing back...

they don't know

if they should finish here...

Because, you see,

some finish here,

as the original step you gave,

and some

are already going parallel,

so should we just...

Oh.

No, they should finish it out.

Girls, right? Okay?

Because some people

are going parallel already

because you see the boys

coming there without finishing.

Just finish it out.

Don't let the boys

make you nervous.

- Totally.

- Okay.

As far as the pointe shoes go,

would you want them to, like,

pancake nude,

or do you want to keep, like,

City Ballet...

- Well, it's up to you.

- Freed pink?

- What do you want?

- We didn't...

We could talk to the girls

and see what they want too.

They can... I mean,

they'll do whatever...

I mean, whatever we want.

I mean, there's all sorts of ballets

where they have to alter

the shoe color,

so it's not an issue.

Great.

And we really, initially,

wanted texture in knits,

but we realized that dancers

probably don't want to wear,

like, hot cashmere.

Cashmere!

I mean, we're used

to wearing really hot,

uncomfortable costumes,

and this will be nothing

compared to some...

Like, we wear Firebird

monster costumes.

- I love them.

- Yeah.

Yeah, and they're great,

but they're not fun to wear.

- But we still wear them, so...

- Okay.

So if you really like that,

then stick with it.

Five, six. Two, two, three,

four, five, six.

Three, two, three,

four, five, six.

Four, two, three,

four, five, six.

Five, two, three,

four, five, six.

Six, two, three,

four, five, six.

One, two, three, one...

See?

There is a one-two-three.

Well, the one-two-three

was a silent,

but if you want it on that,

it can be on that.

I thought the one...

the silent one-two-three,

we're going to this.

His six that

he's counting is our sixth six.

- Let's just do our sixth six.

- It's four, five, six.

- One, two, three, I think.

- Two or three. Yeah.

- Okay.

- Okay. Cool.

So we'll count the six and go

on the silent one-two-three and go.

Okay. Last six.

Okay.

Good.

And can you each

just support his back?

If we both did

maybe, like, a fourth.

We can just try that.

And go!

- Oh, God.

- I know. I'm heavy.

No, it's just because

he ends up going sideways

- and we're trying to do it...

- Oh, do you want me to go to you?

- Yeah, you need to...

- Go to Sterling.

- That's fine. I didn't know.

- Okay.

You can come a little more to me.

- I'm scared now.

- Just don't be flat.

- Can you split the difference?

- Split the difference. Okay.

- Perfect.

- Got you.

- That's great.

- Wow, ladies!

Let's try that.

Okay, let's do...

I think we should

run the finale step,

since that's brand-new.

What do we think?

Let's go over it.

Let's hear it once.

Let's hear it once.

And...

One, two, three, four, five, six.

One, two, three, four.

One, two, three, four,

five, six. One, two.

Stop.

Yes! Yes!

Sterling... She did it.

She's got it.

Sorry.

It needs to be...

It's not, like, crispy enough.

- Crispier?

- Crispier, okay? Same thing.

One, two, three, four,

five, six, seven.

One, two, three, four,

five, six, seven, eight.

One, two, three, four, five...

Okay.

Three and...

That's it!

Good.

Good!

Good!

That was very, very, very good.

That was very good.

That's what I'm looking for.

That's what I'm looking for.

It's like the balance

of these is off.

Mm-hmm.

It's not just a matter

of pulling that part, is it?

No.

Yeah.

I know what you mean, though.

Because this

is all just falling forward.

And we want it to sit, like...

- Like that.

- More like that.

That's better.

So if you take the waistband off

and remove some length here,

would that, like,

put a deeper curve?

It would. Yeah.

I mean, we basically know what

we need to do to make it do that.

- Mm-hmm.

- Okay.

We can't really do it right now,

but it's a pretty easy alteration.

I trust that the fit

will resolve itself.

But yeah.

I like it very much.

Are we worried about this fabric

getting super pilly?

Well...

I mean, I like

that it has texture.

Right.

Um...

It may. Yes.

But then that's what we also

have a wardrobe department for.

Wow. That's amazing.

Stop!

We need to do that again.

Just, we're forgetting stuff,

and I think... Joe's new.

And, Apple, you still got late.

- Sorry, Albert.

- It's okay.

Make the first lifts

more efficient, okay?

The first, like, when she's just

in sixth or fifth or whatever,

okay?

Like, really contained, okay?

You have to lift her up

and lift her down.

- Yeah.

- Not just lift her up.

Yeah, don't just drop her, okay?

Pick her up,

and put her down in a new spot.

Okay.

One more time.

That's better.

Good.

The bump can be

a little more dramatic.

It's starting to lose its intensity.

It's like they know

it's coming now, you know?

Mm-hmm. Mm-hmm.

- Joe has to do tree-frog fingers...

- Okay.

Before the boys' dance starts.

Ster, in that pirouette,

it's a pancake moment.

Yeah, Sterling and Amar,

there's just always this weird...

- Like, a pancake moment.

- After you do here...

I don't know what that is.

It takes a moment to get

out of it, for some reason.

Because you're

on one... on both legs?

It shouldn't be, though.

It's very simple.

Well, pointe shoes are different.

So wait, is it because

I'm giving her too much force?

- Is that what the problem is?

- Maybe. I think maybe a little less.

- Because I'm doing this.

- Yeah.

Maybe that's what it is.

Why don't you soutenu

and come down after?

Whichever...

whatever you want.

What do you mean?

Do you want... you want

to come down before?

Is that better?

Let's do a normal soutenu.

That was good.

- Yeah.

- That was nice.

- Sometimes if I get too much...

- Yeah, it can...

I mean, I don't need very much.

I know, you remember,

you told me to do that, but...

I think I just need some

to get going.

- Because I can do the rest.

- Cool. Absolutely.

Just because

I'm in such a dead moment.

- I'll, I'll... yup.

- Okay.

And, Joe, when you go

to the floor for the...

Can I see it?

I'm doing that.

More spread.

Okay, you need to work

on your finger flexibility.

No, it's fine.

Wait, do you want them,

like, domed?

- Is that what you're...

- Maybe domed.

No, don't dome them.

It should be like...

- Okay.

- Oh. I see.

Maybe like that, yeah.

So they're splayed

a little more.

- Okay.

- Yeah. That's good.

- Okay.

- Sterli... Ster.

Oh, she needs to do more

with her back leg.

Ster, we want to have you

one more time in the grand jet.

Okay.

In the grand jet,

the toss thing.

I feel like you're

a little late, just, like...

- I feel like you're behind her.

- Yeah.

- Okay.

- Yeah.

I feel like she's already past you,

and you can't get any...

Okay.

- That's better.

- Oh, hey.

- That was better.

- Yeah.

- I just need to travel with you.

- She needs to be...

If you think about her being

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Submitted on August 05, 2018

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