[0:00]For Dirty Diana, we wanted something totally new and either Kenny or Michael said, you know, a bed. So Michael loved that. It was a bed that came alive with fake fire, but it was, looked like it was burning with 30-foot flames. And he was going to dance with the Arialist in in the bed. so that she has a little working room around the base. I can't really describe to you the evolution, because some of this stuff is like napkin sketches and then we get, you know, magic effects people involved, and it all kind of swirls around. I guess I'm a little bit of a ring master in that way. Hi David, I'm with Danielle. How are you? Good. We just wanted to confirm the arrival of the bed and when we can actually be working on the real mechanism. they built a bed that has these kind of pole elements that Danielle's going to be using. It's going to be stunning. So it's all about kind of checking dimension and widths and pipe and how things work together. We discovered that the bed had to be a certain size and shape to accommodate our world famous pole dancer. Building props with people on it is a big responsibility and a lot of fun, because you have to design things around the human body, and that's the source of all art. So it's really fun to build, design something on a piece of paper and then put people on it and see how it flies.
[1:29]Do you want me to put some gaffer's in there, a strip? Oh no, that's okay.
[1:35]I just have to find ways to not use my feet, you know?
[1:42]Her shoes scare me. That's the shoe scary? Yeah.
[1:54]This is why they want the other support. So they can get a good push off. Oh, I love that. You know, they need a good place to push so that she can do that in a symmetrical way. But she was fine with everything about it. She thought she could do everything and more. And the thing she wanted the most was two of the poles to have the spinner sleeve. So she could do like a blur.
[2:14]Now, at the top of this, the bed will come out and Michael will enter from the stage lift. And here we go. It's like, you know, beats, right? The first beat is just sort of this scenic element.
[2:29]And then it's Michael. And then it's her. And then it's, you know, the beckoning. And then suddenly, what was that?
[2:40]And then suddenly it becomes this incredible act on the bed that Michael ultimately jumps up, joins in on.
[2:51]just become like more of kind of a real piece for her, that's all about trying to get his attention. Right.
[3:04]Then, was that one of her to kind of tie him to the bed.
[3:19]That's what I'm saying. Now climb up.
[3:38]You could be on top. That'd be hot. To get on top, top of it? That'd be hot. Yeah, yeah, we can work that.
[3:57]You know what I would love is if she was whirling and that's when the flames all...
[4:04]The flames would go higher and kind of consume them and then Michael would have one of his infrequent breathers under the stage getting ready for the next song. we had different opportunities to you know, work properly with each apparatus and on each illusion, you know.
[4:28]And that's one of the beautiful things about working with Michael Jackson is that, um, he realizes the process. get the different talents of builders and magicians and costume people and everybody organized to create one vision. So Michael loved that.
