Подстрочник интервью Дэвида Уилсона (часть о "Мулен Руж").
PJ Podcast: David Wilson (Write Up)
Only the parts regarding Tessa and Scott
PJ: I didn’t realize that you had anything to do with Tessa Virtue and Scott Moir this season and I wanna know the story, so tell me.
David: When Marie France approached me uhhhh……..you know trying to bring all sorts of different ideas to the table. But early on actually, Tessa and Scott had their own idea and it’s what they’re doing now and initially to be perfectly honest neither of us was too crazy about the idea…you know…it it…we were worried that Oh it’s been done before…(PJ: Not like them) right, exactly!! And it was only in our aimless search for the ideas that weren’t coming (laughter) and also at the same time they just kept describing deeper and deeper how much passion they had for it . So it became clear to Marie France, she called me and said “We really need to do this for them” that “THEY need to do this.” So I was like “Omg I love that” like that changed our perspective. So then it just became about… so I rented the movie, bought the movie, saw the movie several times and it never really kind of, I’ve never seen it, never been you know interested in it and umm yeah that’s how it started…
PJ: And Tessa brings an intensity and a depth that a Nicole Kidman can’t really do although she’s a brilliant actress.
David: But you know when I watched…
PJ: Tessa is just so uh, powerful, in terms of characters I think
David: Well when I watched the film I realized how perfect they were..for like type (PJ: mhmmm) HIM and her, both of them, it’s a really good casting, do you know what I mean? So um that combined with their personal attachment to the story, it’s something they’ve always wanted to do and it’s kinda like you know what, you get, now at this point of your life, you get to do what you want to do. We’re all here to support you and I have to say it ended up being really thrilling to watch unfold. I really came in at the last minute in terms of choreography. They worked with Patrice on all of their elements and with Marie France and then with Sam Chouinard, their off ice dance guru. He created this incredible kind of movement passages, little vignettes (PJ: You were saying like a skeleton) that were choreographic vignettes, that were going to be used in a certain place in the music. And they were already kind of good to go, Marie France had already kind of mapped out the program and just brought me in to kind of weave it all together and bring it all together I guess you could say. And I got to interject a little bit of my own creativity into it, I you know I had a couple of thoughts here and there. But it was fun, it was fun actually, helping take Sam’s choreography and make it SKATE well. (PJ: okay yeah) because hip hop is one thing (PJ: has to glide) but to make it also skate friendly, and even if it’s on smaller terms our feet in blades are very different than our feet on the floor (PJ: yes) so to have it be grounded in a good skating is really kind of fun.
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He talks about how he feels the music and comes up with movement. PJ asks him if there is any music he can’t connect with. So this brings him back to mention that though Moulin Rouge was not something he saw for them, it reminded him of like Jeffrey Buttle also choosing music he wanted and him just being the facilitator. Mentions it is less of an expectation when the music doesn’t come from him and it is almost like a revelation when he realizes how great it is.
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David: And to see them, to see THEM, you know uh…….doing it, I mean it’s yeah…
PJ: And putting their stamp on it
David: Yeah, and there’s no doubt in my mind that this is exactly what they need to do this year sort of thing. (PJ: uh huh) so yeah it was fun. And we, you know it’s a death scene at the end, so there’s one of my favorite Pas de Deuxs from the ballet “Manon” and there is a YouTube clip of Sylvie Guillem, she is the most fabulous ballerina ever. And she basically gets thrown and she…the whole Pas de Deux she is dying and this kind of, mirrors the story of Moulin Rouge you know? So we were able to find some inspiration from what they did as a couple to animate that dying but still moving, and we were able to make it skate which was really kind of cool. We were all just watching this vid and were like “Oh we could do something like that” and you know what I mean? It was really experimental and I think that, that for me, that for me that has always been an inspiration. Because I am a huge lover of dance and all dance styles and I’ve always tried to bring as much of that into skating. To make skating more than it is, you know what I mean?
Кратко - никто не хотел поддерживать идею ребят. Мари всем выдала задание, чтобы искали для них музыку, у Дэвида были идеи. Но потом она ему позвонила и сказала, что они обязаны поставить ТС танец под МР, т.к. их эмоции все глубже и глубже. В итоге он взял видео и посмотреть этот фильм. Когда приехал в Монреаль, то вся работа была практически завершена, Сэм поставил все моменты, который нужно было обыграть музыкой. Дэвид подвел финальную черту, так сказать, все собрал воедино, воплотил задумки хип-хоппера на льду (отмечает, как сложно переносить этот стиль на лед). Ну и что он не любит, когда не используют его идею, но когда это срабатывает (личная идея), то бывает счастлив. Так с ним работал Джеффри Баттл, только свои идеи хотел воплощать.
И еще интересно, что Дэвид предложил в сцене смерти использовать подобную сцену из балета "Манон". А ведь многие предлагали им взять именно этот балет 
Пи Джей пошла еще дальше и сказала, что Тесса саму Кидман "перещеголяла", воплощая роль Сатин.
. И в танце Тессы и Скотта именно перенос этой сцены сделан на ять.
