Whats it like when your booked on a job and the client asks if you can run your 1st Dance Rehearsal on a TV Set? Having never met the talent, no idea what music track you’re working too and a director who’s too busy to talk?
A little bit bloody scary maybe?
As Commercial Dance Choreographers and Creative Directors at Life In Motion many times we have been requested to turn up to the TV Production and run our 1st Dance Rehearsals ‘on the day’. Possibly running the rehearsal between set / lighting changes with talent we’ve never met.
Does it make our jobs harder as Commercial Choreographers? I guess it can if we allow it to, but a good strong solid Commercial Choreographer gets this. Its not ideal and like anyone we’d much rather a day or 2 to prep the dance and movement at least.
But things change, sign off on music licensing is a laboriously long task. The brief is fluid and changing. Last minute talent casting changes. TV Directors are immensely busy and equally creatively time poor. In some sense you have to leave your dance creative ego at the TV Production Studio door, as time is never your friend.
The TV production budget and final edit is King.
Witnessing Dance Creative Directors and Choreographers screaming about their vision being ruined due to a budget restraint always makes us wince and slighting die of embarrassment inside.
Getting bogged down into the tiny detail of interact steps can never be what drives the look of the performance forward. By being a Commercial Dance Choreographer or Dance Creative Director it must always be about the brand, the client, that final edit and your ideas supporting this, not dictating it.
Therefor as a successful Commercial Dance Production company running teams of talent for TV Productions and live events we’ve learned to expect the unexpected and roll with what ever is thrown at us.