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Downloaded from
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[SINGING]
Gotta dance
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Official YIFY movies site:
YTS.MX
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Singin' in the Rain invented the wheel.
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Like, it really just kind of put a new spin
on how musicals on film were done.
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SHUM: This was the one that
definitely made me feel...
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that you can blend
every dance style together...
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and it just influenced me
and inspired me to do things...
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outside of what I was doing,
as far as hip-hop goes.
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Because of Gene Kelly,
I know that every step I choreograph...
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has to have a purpose.
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Those dream sequences...
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those ballets were, you know,
the origins of music videos.
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They were fantasies.
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USHER:
We, as artists in this time...
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stand on the shoulders of giants
who came before us.
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I think the magic
that Gene Kelly possessed...
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was the ability to make something
so difficult look so effortless.
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ABDUL:
Singin' in the Rain, still, to this day...
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has such heavy influence
on young, budding choreographers...
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established choreographers, dancers.
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It's like going to school.
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[SINGS]
Gotta dance
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[LAUGHS]
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The first time I saw Singin' in the Rain
was in my meemaw's room...
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at my aunt's house. Ha-ha-ha.
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My grandmother
was a huge musical fan.
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[SINGING]
Feel like dancin' down the street
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WOODLEE:
And I grew up dancing.
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So Singin' in the Rain sort of combined,
not only a dancing element...
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but sort of brought
that fantasy world...
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and it was so much color.
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And just the sheer energy, I think,
translates to such a young person.
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[SINGING] Singin' in the rain
Just singin'...
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DelLUCA:
First time I saw the film...
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it's a great memory.
My parents were interested.
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The neighborhood liked it. Everybody
was excited it was on television.
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[SINGING]
With a happy refrain
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DeLUCA:
I always knew since I was a kid...
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that I loved this way of expressing
one's self through song and musicals.
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I didn't much like
the traditional musical...
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because I liked things
that were a little more daring than that.
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Then here comes
a traditional musical...
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and it felt contemporary.
And it still feels contemporary now.
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They were breaking ground
without even knowing it.
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First time I saw Singin' in the Rain...
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it's hard to remember, I was young.
I started dancing at 2 years old.
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Tap and ballet.
And at my dance studio...
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we ended up doing a tap number
to Singin' in the Rain.
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Of course, at the time, I didn't know
what the reference was to.
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I just heard the music
and we were dancing and...
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my parents,
they actually introduced me to the film...
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which was my first introduction
to Gene Kelly.
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I just saw dancing,
and that was all I needed to see.
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ROONEY:
I was 18 in high school.
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And it was like the most amazing
piece of art...
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that I've ever seen.
I had just started dancing.
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And it totally inspired me
to move that way, in that fashion.
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I was a tap dancer.
I wanted to tap at 10 years old.
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I liked Paula Abdul and
she was doing a lot of tap dancing...
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in her performances.
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So as soon as I got in a tap class,
my grandmother rented me the video.
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I just watched it over and over and I...
You know, I didn't really grasp the film.
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I was more in tune
with the dance numbers.
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As a little 10-year-old kid...
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all wanted to see
was the singing and the dancing.
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It's a very fond memory.
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It's probably
one of my first vivid memories.
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I was all of 4 years old.
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I remember sitting on the carpet...
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and my mom and dad
said I was so fixated...
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that at one point,
after I saw him dance...
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I went and kissed the television set...
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and I said, "That's my dad."
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And my father said,
"Excuse me, Paula."
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And I turned around, and he said:
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"I'm your father.
That can be your TV dad.”
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[SINGS]
I was starstruck
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And I blame Gene Kelly...
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for me falling in love with him
and the art of MGM musicals.
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[SINGING]
You are
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My lucky star
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- Why don't you?
- What?
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- Make a musical.
- A musical?
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[SINGING]
Good mornin'
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-Good mornin'
-We've talked the whole night through
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-Good mornin'
BOTH: Good mornin' to you
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ALL:
Good mornin'...
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KLAPOW:
I just still study it.
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When I travel, I'll be watching
"Moses Supposes" and "Good Morning."
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Just to study the... Just the...
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The craft of choreography
is so brilliant.
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ALL [SINGING]: Might be just as zippy
If we was in Mississippi
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KLAPOW: They take you on a ride.
"Good Morning" takes you on a ride.
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It takes you on a journey
from room to room to room.
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You don't think about it, but you feel it.
You ride with it.
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[SINGING]
So say good mornin'
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Good mornin'
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It looks so easy, but the truth is,
we all know the only way you can do that...
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is work, work, work.
These people worked.
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I mean, I know Debbie Reynolds' feet
were bleeding...
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by the end of "Good Morning."
I know that.
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Donald O'Connor never worked so hard
to keep up with Gene Kelly.
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He was really hard.
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He was a very tough choreographer
in that way.
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But it looks effortless...
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because it's in their bones,
it's in their blood.
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They're dancing, not thinking,
"what's the next step” or anything.
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It's there. So now it's just about
being on the money...
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and bringing life to it in the moment.
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It doesn't surprise me,
the two directors...
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Donen and Kelly,
were also the choreographers.
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It's so intricately woven...
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that there's a real
director-choreographer eye there.
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Gene and Stanley Donen,
who both received credit...
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met all the time and they discussed
what they were going to do.
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Stanley, a lot of the time,
was behind the camera...
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and would know and tell Gene...
This is before the days of Tape/Assist.
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Tell Gene that it was okay.
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The take was okay, rather than,
"Let's do another for protection.”
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SHANKMAN: Once upon a time,
when they were making musicals...
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you would have months
to rehearse the dance numbers...
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And production would even stop...
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for a length of time to rehearse.
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And I think what's great about that process
is it's sort of a hybrid of theater and film.
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And it forces everybody
to be on the same page...
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because you're in the same room
working on the same movie.
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You see how long the takes are
and there's something thrilling about that.
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SHANKMAN:
Both Fred Astaire and Gene Kelly...
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because of their talent...
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and their demands of themselves,
the director wanted to show...
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they were the real deal,
could dance the whole time.
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There was no reason to cut.
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ABDUL:
That doesn't exist today.
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If you go to any music video shoot,
you never do it all the way through.
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It's just exhausting.
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SHANKMAN: Now I would much rather do
long takes...
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but because you don't have
that length of rehearsal time...
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where you get to perfect long takes
that they used to do back then...
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you actually need the edit
to get out of the mistakes...
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that are invariably gonna be made.
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What's this wire doing here?
It's dangerous.
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[SCREAMS]
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Using all of these practical objects
as props...
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that are just integrated
into the movie...
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you don't realize this is not easy
to work with props.
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Like, it's just not at all.
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SHANKMAN: Both Gene Kelly and Fred Astaire
were just die-hards...
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about using anything to dance with.
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There was nothing that was not there
to be danced with.
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And so in "Good Morning"...
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of course, Gene Kelly used
everything in the house that he could...
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that will inform the character
and how the character is feeling.
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That's what's so important about it.
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They were kids playing,
so that house became their playground.
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That's not easy dancing.
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That takes everything.
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That takes... Even when you feel
like you've pushed it to the max...
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you've pushed it way past your limit...
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you have to give
a hundred and 10 percent more.
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And that ending number with the white,
you know, flowy scarf...
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you don't realize
that that is a nightmare to deal with.
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Material that has a mind of its own...
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and fans and things,
and so much can go wrong...
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it's perfectly executed.
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How did they do these things?
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It's just what they did, you know?
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And that's what their talent was.
And that was what their contribution was...
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and that's why we're all, you know,
trying to chase the genius that was them.
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- We made it!
- It's a miracle!
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It's great, Don.
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One of the great powers of the old musical,
one of the great joys...
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Is that the performers
really were exposed.
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That is that they had to be photographed
head to toe...
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actually carrying, as an ensemble,
the weight of the story.
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[SINGS] When the band began to play
The stars were shining bright
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ROONEY: That was Debbie Reynolds'
first starring role in a musical.
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[SINGING] So good mornin'
Good mornin'
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No dancing in her background.
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Just a gymnast.
Flip-flip here, flip-flip there.
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And then you have Gene Kelly,
the master of dance...
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guiding you, training you.
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BEHLMER: And Kelly said
she was as strong as an ox.
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And I guess she had tenacity, heh...
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because the drills
that they put her through...
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and the rehearsals with Ernie Flatt,
the tap man...
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and with Jeanne Coyne,
Gene's assistant...
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it must've been grueling.
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How much did she put into herself
and into her work to get to that level?
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It's so inspiring.
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She did say in later life, I remember...
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that doing that film and giving birth...
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were the two hardest things
she'd ever done in her life.
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When you're shooting
dance numbers...
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anything and everything will go wrong.
Ha, ha.
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And then in the cake dance sequence,
my favorite shot is...
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they cut to one shot...
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but Debbie has a streamer
over her face...
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which is probably not planned on.
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But she's still going for it
like it's not even there.
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And then just a simple like:
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And, like, her eyes roll. It's genius.
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It's the perfect moment.
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And I think that is a testimony...
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to filmmaking at that moment in time,
which was...
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00:11:04,164 --> 00:11:06,541
find the great mistakes and use that...
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00:11:06,749 --> 00:11:11,713
and it doesn't have to be this glossy,
you know, packaged performance.
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Make it real, make it a little gritty.
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Yeah, it's on your face, but she's still
there, and you're just... You're loving it.
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She also has a real tomboy energy.
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So it's... Her and the boys
are like a perfect match.
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Debbie Reynolds still
has a tomboy energy...
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00:11:27,312 --> 00:11:28,672
because she's a dame, you know?
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00:11:28,855 --> 00:11:31,983
And when one of those kinds of ladies
plays with the boys...
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you get something really, really fun.
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That's why "Good Morning" works
so beautifully.
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[SINGING] Good mornin', good mornin'
We've gabbed the whole night through
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Good mornin' Good mornin' to you
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I think Debbie did an amazing job...
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because the end product
was the best thing...
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that I've ever seen a non-dancer
do in a musical.
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One thing great
about Debbie Reynolds...
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00:11:56,382 --> 00:11:57,902
There's a number in the sound stage...
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00:11:58,051 --> 00:12:00,970
she and Gene Kelly are dancing
and they're sort of waltzing around...
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00:12:01,179 --> 00:12:04,140
and he picks her up and it's so gentle.
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00:12:04,766 --> 00:12:06,100
But if you watch...
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00:12:06,309 --> 00:12:09,103
just to show you
that technical background...
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00:12:09,312 --> 00:12:12,857
she wraps around
and then she barely flexes...
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00:12:13,066 --> 00:12:15,526
just to hold herself up ever so softly.
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00:12:15,735 --> 00:12:17,535
And it just takes all the weight
off of him...
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00:12:17,737 --> 00:12:20,615
and she's there,
and she looks like a floating angel.
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00:12:20,823 --> 00:12:24,494
That's why that works,
is because she's trained in her body...
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00:12:24,702 --> 00:12:28,706
but yet, from an audience perspective,
you're only watching their connection.
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00:12:28,915 --> 00:12:33,378
There's a lot of subtle moments
that if you do not have extreme training...
235
00:12:33,586 --> 00:12:34,629
it won't work.
236
00:12:34,837 --> 00:12:36,965
It would've
have to have been chopped up...
237
00:12:37,173 --> 00:12:39,550
and, you know, "Go tight."
Because this looks crazy.
238
00:12:39,759 --> 00:12:42,971
She's machinegun armed, you know,
just wanting to hold herself up.
239
00:12:43,179 --> 00:12:48,226
And I'm sure Debbie Reynolds,
to this day, is thanking Gene...
240
00:12:48,434 --> 00:12:49,852
from the bottom of her heart.
241
00:12:50,061 --> 00:12:52,021
Both Dick and I thought,
seeing it again...
242
00:12:52,230 --> 00:12:54,941
that Debbie Reynolds was delectable.
243
00:12:55,566 --> 00:12:58,528
I got no glory. I got no fame.
I got no mansions.
244
00:12:58,736 --> 00:13:01,114
I got no money. But I've got...
245
00:13:01,322 --> 00:13:03,574
- What have I got?
- I don't know.
246
00:13:03,783 --> 00:13:04,867
I gotta get out of here.
247
00:13:05,076 --> 00:13:08,538
Donald O'Connor was an extraordinarily
talented young man.
248
00:13:08,746 --> 00:13:11,374
He had been in films since 1938,
when he was a child.
249
00:13:11,582 --> 00:13:13,584
He'd come out of vaudeville,
and he was a dancer...
250
00:13:13,793 --> 00:13:14,836
but he was a natural.
251
00:13:15,044 --> 00:13:17,672
So Kelly and Donen thought
he would be fine.
252
00:13:17,880 --> 00:13:21,259
You know, at first, I'm sure Gene Kelly
and Donald O'Connor both wondered:
253
00:13:21,467 --> 00:13:25,596
"I wonder if we can work well together,
I wonder if the compatibility is there."
254
00:13:25,763 --> 00:13:29,642
"Come rain, come shine, come snow,
come sleet. The show must go on."
255
00:13:29,851 --> 00:13:33,271
[SPEAKS IN ITALIAN]
256
00:13:33,479 --> 00:13:36,983
BLEU: The thing I love about
Donald O'Connor's character in this film...
257
00:13:37,191 --> 00:13:40,570
he attacks everything he does
in this movie.
258
00:13:40,778 --> 00:13:42,006
[SINGS] Positively, no
Decidedly, no
259
00:13:42,030 --> 00:13:44,365
BLEU:
With just unbounding energy. Ha, ha.
260
00:13:44,574 --> 00:13:47,994
I think, really, that's the thing that's
so impressive about his performance...
261
00:13:48,202 --> 00:13:52,498
Is just this energy
that is unattainable.
262
00:13:54,334 --> 00:13:58,004
He was sensational because now
he had a chance to really do something...
263
00:13:58,212 --> 00:14:00,590
and he didn't have
this kind of opportunity...
264
00:14:00,798 --> 00:14:02,925
in many of the other films.
265
00:14:03,134 --> 00:14:06,387
[SINGING]
My dad said, "Be an actor, my son
266
00:14:06,596 --> 00:14:08,765
But be a comical one”
267
00:14:08,973 --> 00:14:11,642
They'll be standin' in lines
268
00:14:11,851 --> 00:14:14,312
For those old honky-tonk monkeyshines
269
00:14:14,520 --> 00:14:17,732
SHUM: Almost look like he was freestyling,
in a sense of:
270
00:14:17,940 --> 00:14:19,817
"I'm gonna go over here, do this...
271
00:14:19,984 --> 00:14:23,863
I'm gonna feel what comes naturally."
272
00:14:24,072 --> 00:14:27,408
And that's what makes all these
SO special.
273
00:14:27,617 --> 00:14:30,578
Donald O'Connor, Debbie Reynolds,
Gene Kelly...
274
00:14:30,912 --> 00:14:33,206
just dancing up and down the stairs
like it's nothing.
275
00:14:46,177 --> 00:14:48,554
KLAPOW:
It's so fast and it's so intricate.
276
00:14:48,763 --> 00:14:51,265
I will pause that
and I'll play it over and over...
277
00:14:51,474 --> 00:14:53,851
and try and figure out
how they did it and rehearsed it.
278
00:14:54,060 --> 00:14:56,604
Because it's brilliant
how they got that shot...
279
00:14:56,813 --> 00:15:00,191
and how they nailed it perfectly
in unison, the three of them.
280
00:15:00,400 --> 00:15:05,405
WOODLEE: It's the most amazing feeling
where they can trust each other's stride...
281
00:15:05,613 --> 00:15:08,950
and they're rehearsed enough
to where they know where the next step is.
282
00:15:09,158 --> 00:15:12,453
It's so amazing
to be in a group of performers...
283
00:15:12,662 --> 00:15:16,666
that you're at sort of an equal parallel
as far as, like, your talent.
284
00:15:16,874 --> 00:15:19,635
And you know that this guy is good
and you know that this guy is good.
285
00:15:19,836 --> 00:15:22,713
So I'm gonna be great.
Like, it's so great to watch.
286
00:15:22,922 --> 00:15:27,385
Singin' in the Rain, this was a big number
for Donald O'Connor.
287
00:15:27,593 --> 00:15:31,097
Suddenly, he's in demand
for big pictures.
288
00:15:31,305 --> 00:15:33,724
And he was doing extremely well
on television.
289
00:15:37,603 --> 00:15:39,397
WOODLEE:
Watching Cyd Charrise...
290
00:15:39,605 --> 00:15:42,442
it's a completely different take
on movement...
291
00:15:42,650 --> 00:15:44,068
than Debbie Reynolds, of course.
292
00:15:46,070 --> 00:15:51,075
But you have to really be aware
of her level of training.
293
00:15:51,492 --> 00:15:53,953
BEHLMER: Gene Kelly understanding,
when devising the ballet...
294
00:15:54,120 --> 00:15:55,960
at which of course grew and grew
and grew...
295
00:15:56,122 --> 00:15:58,002
because they felt
they had to do something...
296
00:15:58,166 --> 00:16:01,502
along the order
of the American in Paris ballet.
297
00:16:01,711 --> 00:16:04,755
They've got Cyd Charrise,
who had just had a baby...
298
00:16:04,922 --> 00:16:06,682
and she had to work out
and lose weight...
299
00:16:06,883 --> 00:16:08,926
and Kelly had not worked
with her before.
300
00:16:09,135 --> 00:16:12,889
So they had to adapt their styles,
and also with heels...
301
00:16:13,097 --> 00:16:15,516
she was actually a little taller
than Kelly.
302
00:16:15,725 --> 00:16:17,810
So the way he devised
the choreography...
303
00:16:18,019 --> 00:16:20,563
was such that with the bends
and the leaning...
304
00:16:20,771 --> 00:16:22,899
and where he was down,
it doesn't show.
305
00:16:23,107 --> 00:16:27,778
But he had to keep that in mind
as he was staging the number.
306
00:16:31,991 --> 00:16:34,577
There's something so wonderful
about the way...
307
00:16:34,785 --> 00:16:38,831
that Cyd Charrise can use
the smallest step...
308
00:16:39,040 --> 00:16:44,128
to emphasize sensuality
and the delicate side of dancing...
309
00:16:44,337 --> 00:16:48,508
and how, "I can do barely anything,
and you're gonna watch me."
310
00:16:48,716 --> 00:16:51,093
It's so commanding
and it's so amazing.
311
00:16:51,302 --> 00:16:53,346
I think... Oh.
312
00:16:53,554 --> 00:16:56,682
Every girl should train
like Cyd Charrise.
313
00:16:58,017 --> 00:17:00,019
Now, what about the story?
314
00:17:00,228 --> 00:17:02,563
We need modern musical numbers.
315
00:17:04,815 --> 00:17:06,776
BEHLMER:
For 1949, Arthur Freed thought:
316
00:17:06,984 --> 00:17:10,571
"Wait a minute,
I have a song catalog of numbers...
317
00:17:10,780 --> 00:17:13,449
that I had written
with Nacio Herb Brown."
318
00:17:13,658 --> 00:17:17,203
So he thought,
"Let's do a picture based on these songs."
319
00:17:17,411 --> 00:17:19,956
WASSON:
Arthur Freed was the guy responsible...
320
00:17:20,122 --> 00:17:22,625
for the production of musicals
at MGM...
321
00:17:22,792 --> 00:17:27,505
from the inception of the musical,
all through its great development...
322
00:17:27,713 --> 00:17:32,885
and he was as much a creative force
on these movies as Gene Kelly...
323
00:17:33,094 --> 00:17:35,179
Or your composer, your designer.
324
00:17:35,388 --> 00:17:41,811
He is the father, really,
of the golden age musical.
325
00:17:42,019 --> 00:17:44,272
And of all
of those golden age musicals...
326
00:17:44,480 --> 00:17:49,569
Singin" in the Rain is regarded
as the absolute epitome of the era.
327
00:17:49,777 --> 00:17:52,321
It's fascinating.
Arthur Freed wrote the lyrics...
328
00:17:52,488 --> 00:17:57,159
for all these songs in Singin' in the
Rain. And that was sort of how it began.
329
00:17:57,368 --> 00:18:00,246
As a starting point for a movie,
it's not ideal.
330
00:18:00,454 --> 00:18:03,207
Ideally, you should write a story
and then the songs fit.
331
00:18:03,416 --> 00:18:04,917
I don't think they spent much time...
332
00:18:05,126 --> 00:18:08,004
trying to work a narrative that would
accommodate those songs.
333
00:18:08,212 --> 00:18:10,047
LA FRENAIS:
They just wrote a story...
334
00:18:10,214 --> 00:18:13,259
which had some relevance
to the movie industry.
335
00:18:13,467 --> 00:18:16,804
And then when they felt like a song,
they popped it in.
336
00:18:17,013 --> 00:18:19,181
"Singin' in the Rain"
could've been in any musical.
337
00:18:19,390 --> 00:18:22,310
It had nothing to do with silent movies,
and the movie industry.
338
00:18:22,476 --> 00:18:25,354
"Lamont and Lockwood. They talk!"
339
00:18:25,563 --> 00:18:28,733
Well, of course we talk.
Don't everybody?
340
00:18:32,612 --> 00:18:33,946
Singin' in the Rain begins...
341
00:18:34,113 --> 00:18:38,534
with a tremendous physical device
to give you context for the story.
342
00:18:38,743 --> 00:18:43,289
He tells this glamorized story of how,
in a perfect way...
343
00:18:43,497 --> 00:18:44,874
he found his way into stardom.
344
00:18:45,082 --> 00:18:47,363
We see the pictures
which are the complete opposite story.
345
00:18:47,543 --> 00:18:49,128
So it's a great gag, a great device.
346
00:18:49,295 --> 00:18:51,339
So much in the movie goes back...
347
00:18:51,505 --> 00:18:54,759
to the central idea
of illusion and reality.
348
00:18:54,925 --> 00:18:56,927
I say, what's the big idea?
349
00:18:57,136 --> 00:19:01,474
Can't a girl get a word in edgewise?
They're my public too!
350
00:19:01,641 --> 00:19:05,519
WASSON: Reality and illusion
is really the central idea...
351
00:19:05,728 --> 00:19:07,647
of all musicals.
352
00:19:07,855 --> 00:19:11,025
The very problem
of what it means to perform.
353
00:19:11,192 --> 00:19:14,445
[SINGS]
He'll kiss her with a sigh
354
00:19:14,654 --> 00:19:18,366
WASSON:
Is that really me or is that a fake me?
355
00:19:18,574 --> 00:19:21,035
LINA [LIP-SYNCHING]:
Let's do the same
356
00:19:21,661 --> 00:19:24,330
As they
357
00:19:24,538 --> 00:19:28,584
! would
358
00:19:28,793 --> 00:19:31,087
Would you?
359
00:19:31,295 --> 00:19:34,090
WOODLEE: When Debbie Reynolds
is behind the curtain and singing...
360
00:19:34,298 --> 00:19:36,092
and it's her, she's the true talent...
361
00:19:36,592 --> 00:19:39,679
I think it really rings true...
362
00:19:40,429 --> 00:19:43,349
to sort of what Hollywood
sometimes does with smoke and mirrors.
363
00:19:43,599 --> 00:19:48,104
It'll say on the screen
I don't talk and sing for myself?
364
00:19:48,312 --> 00:19:49,772
Of course. What do you think?
365
00:19:49,980 --> 00:19:53,359
Arthur Freed hired Betty Comden
and Adolph Green...
366
00:19:53,567 --> 00:19:57,655
who, of course, had worked for him
before on Good News...
367
00:19:57,863 --> 00:20:00,533
which was a college musical
that took place in the '20s.
368
00:20:00,700 --> 00:20:02,910
And on The Barkleys of Broadway...
369
00:20:03,119 --> 00:20:05,454
with Astaire and Rogers,
bringing them back together.
370
00:20:05,663 --> 00:20:08,749
I just think Comden and Green
really knew what they were doing...
371
00:20:08,958 --> 00:20:11,038
when putting this together
and creating the story.
372
00:20:11,210 --> 00:20:12,770
They just have musicals in their blood.
373
00:20:12,962 --> 00:20:16,215
But you have to talk
into the mike first.
374
00:20:16,424 --> 00:20:17,550
In the bush!
375
00:20:17,758 --> 00:20:19,802
One thing you can learn
from Singin' in the Rain...
376
00:20:20,010 --> 00:20:23,347
Is that you must have a great story
underneath it all.
377
00:20:23,556 --> 00:20:26,851
You can't just have numbers
that are just mean... Are meaningless.
378
00:20:27,059 --> 00:20:28,227
Even if they're good.
379
00:20:28,436 --> 00:20:31,230
It doesn't add up
unless you have the full package.
380
00:20:31,439 --> 00:20:34,191
I'm trying to say
something to you, but I...
381
00:20:34,775 --> 00:20:36,819
I'm not able to
without the proper setting.
382
00:20:37,027 --> 00:20:39,655
MARSHALL: And then when the
numbers come, they're just delightful.
383
00:20:39,822 --> 00:20:42,182
The story keeps rolling,
keeps you interested on that level.
384
00:20:42,324 --> 00:20:45,870
I was astonished.
Because watching it again...
385
00:20:46,078 --> 00:20:50,458
they say, "Let's salvage this movie
by making it a musical.”
386
00:20:50,666 --> 00:20:52,585
And they show it to the studio head...
387
00:20:52,793 --> 00:20:54,628
and he says, "It's great. It's working.
388
00:20:54,837 --> 00:20:56,839
How much more have you got to do?"
And Gene says:
389
00:20:57,047 --> 00:20:59,633
"We're nearly there.
We're just doing this kind of medley."
390
00:20:59,842 --> 00:21:02,136
And that medley is "Broadway Melody."
391
00:21:02,344 --> 00:21:04,930
What's that got to do
with a film about the French Revolution?
392
00:21:05,139 --> 00:21:08,517
I think that's the most blatant moment
where they sort of said:
393
00:21:08,726 --> 00:21:10,770
"No, it's all right.
Gene is gonna do this number."
394
00:21:10,978 --> 00:21:14,124
LA FRENAIS: No one is gonna think about...
CLEMENT: Cyd Charrise is gonna be dancing.
395
00:21:14,148 --> 00:21:15,748
She's got the longest legs in the world.
396
00:21:15,941 --> 00:21:17,276
Absolutely. Sold, you know.
397
00:21:20,988 --> 00:21:23,491
[SINGING] And singin'
Just singin' in the rain
398
00:21:23,699 --> 00:21:25,743
In the rain
399
00:21:25,951 --> 00:21:28,120
I'm singin' in the rain
400
00:21:28,329 --> 00:21:31,791
If you go to the story,
if you take it seriously...
401
00:21:31,957 --> 00:21:38,047
considering it's an amiable,
innocent comedy and parody of the time...
402
00:21:38,255 --> 00:21:41,133
it's a terribly cruel ending.
403
00:21:41,342 --> 00:21:44,595
You know,
because they try and build Jean Hagen.
404
00:21:44,804 --> 00:21:48,098
They try and make it very unpleasant
in the last reel so that you'll hate her.
405
00:21:48,307 --> 00:21:51,435
But you don't hate her
because she's so silly.
406
00:21:51,644 --> 00:21:55,064
And then, in that moment, at the end...
407
00:21:55,272 --> 00:21:57,858
when they reveal Debbie...
408
00:21:58,275 --> 00:21:59,777
if you think about it...
409
00:21:59,985 --> 00:22:03,614
her entire life was destroyed
in that moment.
410
00:22:03,823 --> 00:22:06,158
Devastated.
All I could... I know it's sick...
411
00:22:06,367 --> 00:22:09,119
but all I can think about
was they all go to a party at Sardi's...
412
00:22:09,328 --> 00:22:11,455
and she goes home,
and takes an overdose.
413
00:22:11,664 --> 00:22:14,291
Then commits suicide.
That's... That's what happened.
414
00:22:14,500 --> 00:22:16,627
- Let's do the sequel.
- They never tell that story.
415
00:22:16,836 --> 00:22:18,170
No, let's do the sequel.
416
00:22:18,379 --> 00:22:23,092
- But you don't find that really humiliating?
- We'll make it a dark sequel.
417
00:22:23,300 --> 00:22:25,719
LA FRENAIS: And maybe she had a song
before she jumped...
418
00:22:25,928 --> 00:22:27,513
or swallowed.
419
00:22:27,721 --> 00:22:29,223
Or injected.
420
00:22:29,390 --> 00:22:32,810
- The Dancing Cavalier!
- That's it. The Dancing Cavalier.
421
00:22:33,018 --> 00:22:36,397
- Remind me to make you a writer.
- Thanks. Have a cigar.
422
00:22:36,605 --> 00:22:37,731
Thanks.
423
00:22:37,940 --> 00:22:40,943
I love that it's a backstage musical.
I think they make the best musicals.
424
00:22:41,110 --> 00:22:42,444
Because they're performers.
425
00:22:42,653 --> 00:22:45,781
So when they sing and they dance
in the film, it feels completely organic.
426
00:22:45,990 --> 00:22:47,630
One of the hardest things
about a musical.
427
00:22:47,825 --> 00:22:51,120
That's what I love the whole, you know,
world of it.
428
00:22:51,328 --> 00:22:54,582
The unsaid thing
about Singin' in the Rain...
429
00:22:54,790 --> 00:22:57,042
is that in and of itself,
it's a jukebox musical.
430
00:22:57,251 --> 00:22:59,753
MGM really did
the jukebox musical thing...
431
00:22:59,962 --> 00:23:02,715
utilizing the songs
that were popular at the time.
432
00:23:02,882 --> 00:23:07,469
[SINGS]
Lucky in your arms
433
00:23:08,387 --> 00:23:10,347
So that's the same thing with Glee.
434
00:23:10,556 --> 00:23:13,183
Glee is a jukebox television show...
Musical television show.
435
00:23:13,392 --> 00:23:16,395
And Rock of Ages, the movie I just made,
is a jukebox musical.
436
00:23:16,604 --> 00:23:17,897
We're part of the same family.
437
00:23:18,522 --> 00:23:19,565
Make a musical.
438
00:23:19,773 --> 00:23:22,109
The new Don Lockwood.
He jumps about to music.
439
00:23:27,364 --> 00:23:28,991
What I study from Gene Kelly's work...
440
00:23:29,199 --> 00:23:31,744
Is the subtleties,
not over-dancing the moments.
441
00:23:31,952 --> 00:23:32,995
He's telling a story.
442
00:23:33,203 --> 00:23:35,581
[SINGS]
Gotta dance
443
00:23:36,332 --> 00:23:38,667
KLAPOW: Choreography has to drive
the story along.
444
00:23:38,876 --> 00:23:41,295
It's embellishing
what is already up there...
445
00:23:41,503 --> 00:23:45,049
and taking the story
to a whole new place through movement.
446
00:23:47,509 --> 00:23:49,720
Choreography and dance
is storytelling.
447
00:23:49,887 --> 00:23:52,181
Because you get to that place
emotionally...
448
00:23:52,389 --> 00:23:56,143
where there's no other place to go
in terms of dialogue.
449
00:23:56,352 --> 00:23:57,686
Like it has to be physicalized.
450
00:23:57,895 --> 00:24:02,316
Gene Kelly incorporated so much acting
into his dancing.
451
00:24:02,524 --> 00:24:04,860
And it was one of those things...
452
00:24:05,069 --> 00:24:08,572
where his dancing
and the acting in his dancing...
453
00:24:08,781 --> 00:24:11,575
really moved the plot line.
454
00:24:12,201 --> 00:24:14,054
DeLUCA: Debbie, after she pops through
the cake...
455
00:24:14,078 --> 00:24:17,790
you just get her whole personality
and her whole essence.
456
00:24:18,082 --> 00:24:20,834
It's just a silly number.
It could just be a silly, throwaway number.
457
00:24:21,043 --> 00:24:22,169
But it really is...
458
00:24:22,378 --> 00:24:25,255
The way it's plotted through
is really fascinating.
459
00:24:25,464 --> 00:24:26,840
How character comes out...
460
00:24:27,049 --> 00:24:29,885
and you can really develop characters
so strongly.
461
00:24:30,094 --> 00:24:33,889
With the choreography
that Gene had put together...
462
00:24:34,098 --> 00:24:37,476
it takes you on a journey
and it tells more of a story.
463
00:24:37,685 --> 00:24:39,937
It's not just,
"Look at this dance number."
464
00:24:40,145 --> 00:24:46,610
It's literally part of the experience
and using the dance as a driver.
465
00:24:47,987 --> 00:24:49,530
My favorite thing is that...
466
00:24:49,697 --> 00:24:53,283
The choice to,
at the climax of the song...
467
00:24:53,492 --> 00:24:55,661
to jump in the puddles as a kid would...
468
00:24:55,869 --> 00:24:59,206
or kick the rain around like he does,
like a little kid would...
469
00:24:59,415 --> 00:25:03,502
instead of some big grand
dance moment, is so perfect.
470
00:25:03,711 --> 00:25:07,089
It's what we would all do.
We would all jump like that in the pud...
471
00:25:07,297 --> 00:25:08,657
You know what I mean? I love that.
472
00:25:08,841 --> 00:25:13,679
When Gene Kelly sings his love song
to Debbie Reynolds...
473
00:25:13,887 --> 00:25:17,516
you're in what is clearly the skeleton
of a stage.
474
00:25:17,725 --> 00:25:20,436
Kind of like, behind the scenes.
475
00:25:20,644 --> 00:25:24,690
And the whole movie
can be read as a progression...
476
00:25:24,898 --> 00:25:29,987
from exteriority,
the way it opens with that lie...
477
00:25:30,195 --> 00:25:33,741
"Dignity. Always dignity."
478
00:25:33,949 --> 00:25:36,869
To the climax
of the "Broadway Melody" number...
479
00:25:37,077 --> 00:25:39,705
which is all about his imaginings.
480
00:25:39,913 --> 00:25:45,127
So you quite literally go
from outside to inside.
481
00:25:45,335 --> 00:25:50,174
And the musical numbers themselves
describe that progression.
482
00:25:50,382 --> 00:25:54,970
Everything is just a perfect extension
of scene work.
483
00:25:55,179 --> 00:25:59,266
So the actual choreography isn't a,
"Now, we're gonna stop and dance."
484
00:25:59,475 --> 00:26:02,144
Now, it's like, "Now we're walking,
now, suddenly, we're dancing."
485
00:26:02,352 --> 00:26:04,730
And it's just all transitional
and it's very seamless.
486
00:26:04,897 --> 00:26:07,399
Kelly and Donald
were always very strong...
487
00:26:07,566 --> 00:26:13,155
on how do you get the transition
from the dialogue to the number...
488
00:26:13,322 --> 00:26:15,824
taking Debbie Reynolds' character,
Kathy, home.
489
00:26:16,033 --> 00:26:17,743
And obviously, they're in love.
490
00:26:17,951 --> 00:26:22,289
And then he goes, starts down the street,
and of course, now he's so happy...
491
00:26:22,498 --> 00:26:26,126
and that little vamp,
that beautiful vamp...
492
00:26:26,668 --> 00:26:28,545
[HUMMING]
493
00:26:30,881 --> 00:26:34,718
which is not part of the original song,
gets him into singing in the rain...
494
00:26:34,927 --> 00:26:35,969
which gets him into:
495
00:26:36,178 --> 00:26:37,721
[SINGS]
I'm dancing
496
00:26:37,930 --> 00:26:40,516
The original lyric, of course,
was not dancing in the rain.
497
00:26:40,724 --> 00:26:43,936
It was strictly singing in the rain,
but it was expanded upon.
498
00:26:44,144 --> 00:26:47,815
[SINGS]
Dancin' in the rain
499
00:26:50,192 --> 00:26:52,903
WOODLEE: It's just pure joy,
and you're not really thinking:
500
00:26:53,112 --> 00:26:54,988
"Oh, now I'm watching
another dance number."
501
00:26:55,197 --> 00:26:56,677
It's just you're watching this man...
502
00:26:56,865 --> 00:27:00,202
sort of celebrating and laughing
and dancing around.
503
00:27:00,410 --> 00:27:04,331
And then once he sort of gets caught,
he's done and back to his everyday life.
504
00:27:04,873 --> 00:27:06,113
I think it's in "Good Morning."
505
00:27:06,250 --> 00:27:08,669
There's a sequence
where they're all tapping...
506
00:27:08,877 --> 00:27:10,045
and then they spin around.
507
00:27:10,254 --> 00:27:13,841
And they all start doing this sort
of a ballet bar warm-up out of nowhere.
508
00:27:14,049 --> 00:27:18,595
When someone's that proficient
in multiple types of dancing...
509
00:27:19,096 --> 00:27:22,516
what you can do with it
is sort of endless.
510
00:27:22,724 --> 00:27:26,103
KLAPOW: For the three of them to dance
together so well is a very impressive thing.
511
00:27:26,311 --> 00:27:29,690
But luckily, actors already know
how to dance underneath it all.
512
00:27:29,898 --> 00:27:33,819
It's... If you approach it
from an actor's point of view...
513
00:27:34,027 --> 00:27:36,029
and you know
that you're just telling a story...
514
00:27:36,238 --> 00:27:38,740
and you know
that it's all part of the lyrics...
515
00:27:38,949 --> 00:27:41,410
and all of the words are connected
with the dance moves...
516
00:27:41,618 --> 00:27:44,037
then it's easy for the actors
to dance together.
517
00:27:44,246 --> 00:27:45,473
-[SINGS] Good mornin'
-Good mornin'
518
00:27:45,497 --> 00:27:47,207
- Bonjour!
- Monsieur!
519
00:27:47,416 --> 00:27:48,496
- Buenos dias!
- Muchas frias!
520
00:27:48,667 --> 00:27:52,379
DeLUCA: It's just integrated perfectly,
the steps with the narrative...
521
00:27:52,588 --> 00:27:55,465
and that's why everything seems fresh
and alive...
522
00:27:55,674 --> 00:27:58,260
and, in a sense, contemporary.
523
00:27:58,635 --> 00:28:02,431
[SINGS] All I do the whole day through
Is dream of you
524
00:28:02,639 --> 00:28:04,183
I had to tell you how good you were.
525
00:28:04,391 --> 00:28:06,101
MAN 1: Quiet!
MAN 2: Quiet!
526
00:28:06,310 --> 00:28:07,769
MAN 1:
Roll 'em!
527
00:28:07,978 --> 00:28:13,984
Designing a number for film
can be extremely difficult.
528
00:28:14,151 --> 00:28:16,987
It's how to bring the camera
into the dance.
529
00:28:17,196 --> 00:28:19,796
A lot of people choreograph their routines
facing one direction...
530
00:28:19,990 --> 00:28:22,075
and then they put the cameras on it
and shoot it.
531
00:28:22,284 --> 00:28:25,164
But in Singin' in the Rain, you look
at a number like "Moses Supposes"...
532
00:28:25,329 --> 00:28:27,372
and you'll see the desk
as the backdrop...
533
00:28:27,581 --> 00:28:32,044
but seamlessly transition to the window
and the curtains and the chairs...
534
00:28:32,252 --> 00:28:33,492
the wall being the backdrop.
535
00:28:33,670 --> 00:28:36,590
And you don't even realize
that they've changed direction...
536
00:28:36,798 --> 00:28:38,967
on where the dance
is supposed to be performed to.
537
00:28:39,176 --> 00:28:41,261
And it's because he's choreographed
for the camera.
538
00:28:41,470 --> 00:28:44,932
Opening up the possibilities
of how you can entertain an audience...
539
00:28:45,140 --> 00:28:46,600
with a lens versus just a stage.
540
00:28:46,808 --> 00:28:49,353
[SINGING] Couldn't be a lily
Or a taffy daffy dilly
541
00:28:49,561 --> 00:28:52,397
It's gotta be a rose
'Cause it rhymes with "mose”
542
00:28:52,606 --> 00:28:55,943
So there are no limitations
for a choreographer.
543
00:28:56,109 --> 00:29:00,906
You can use space, 360 degrees,
and a lot of range.
544
00:29:01,114 --> 00:29:04,785
You can really just go anywhere
and the camera has to be with you.
545
00:29:04,993 --> 00:29:06,873
That's why Singin' in the Rain
IS so exciting...
546
00:29:07,079 --> 00:29:10,499
because of the way
that the camera travels with everybody.
547
00:29:10,707 --> 00:29:13,585
They used two sound stages
most of the time...
548
00:29:13,794 --> 00:29:17,130
So the expansiveness
was really unique.
549
00:29:20,217 --> 00:29:23,887
In a day where we have so many, like,
competitive reality shows...
550
00:29:24,096 --> 00:29:26,515
that's just about dancing,
and it's a set structure...
551
00:29:26,682 --> 00:29:28,850
that the cameras do
to catch each thing.
552
00:29:29,017 --> 00:29:33,063
I feel like with Gene Kelly's work,
you're a part of it.
553
00:29:33,605 --> 00:29:36,024
Don, you're a genius.
554
00:29:37,985 --> 00:29:39,785
MARSHALL:
The thing about Gene Kelly for me...
555
00:29:39,820 --> 00:29:42,531
Is that he was a dancer's dancer.
556
00:29:42,739 --> 00:29:45,575
He's so athletic, of course.
You've never seen anything like it before.
557
00:29:45,784 --> 00:29:47,536
In this film, he's doing all those stunts.
558
00:29:47,744 --> 00:29:51,206
It's extraordinary.
I mean, He is... He's just an athlete.
559
00:29:51,415 --> 00:29:53,500
But he also has great range.
560
00:29:53,750 --> 00:29:57,337
MORRISON: The first time I saw Singin'
in the Rain, I was, I think, 13 years old.
561
00:29:57,546 --> 00:30:00,299
I saw guys dancing.
562
00:30:00,507 --> 00:30:03,969
Like... It was just like watching
any sport for me.
563
00:30:04,177 --> 00:30:06,221
It was like watching Pelé play soccer...
564
00:30:06,430 --> 00:30:08,932
or watching Joe Montana
throw a football.
565
00:30:09,141 --> 00:30:13,312
You saw such masculinity
within the dance.
566
00:30:14,646 --> 00:30:17,357
Gene Kelly was more like
a baseball player...
567
00:30:17,524 --> 00:30:21,028
like a man's man in his moves.
So that really attracted me.
568
00:30:21,278 --> 00:30:23,947
[SINGING] Broadway rhythm
It's got me
569
00:30:24,156 --> 00:30:25,574
Everybody sing and dance
570
00:30:25,782 --> 00:30:28,660
As a young kid,
I was so into sports and everything.
571
00:30:28,827 --> 00:30:32,456
And you get into dance,
and you're kind of, like, "This is scary."
572
00:30:32,664 --> 00:30:35,625
In high school,
kids, they make fun of you...
573
00:30:35,876 --> 00:30:37,919
because you're dancing.
It's a sissy thing to do.
574
00:30:38,128 --> 00:30:41,965
There's a lot of like, you know...
This isn't for, like, guys, you know?
575
00:30:42,507 --> 00:30:45,510
You look at someone like Gene Kelly,
He's so... He's masculine, you know.
576
00:30:45,719 --> 00:30:48,638
But he's doing ballet,
and he's doing, you know, jazz.
577
00:30:48,805 --> 00:30:52,434
When he had this TV show,
he talked about how it's a sport.
578
00:30:52,642 --> 00:30:57,689
Gene Kelly has inspired me
probably more than anyone in my life.
579
00:30:57,898 --> 00:31:01,985
It gave me the confidence, like,
yeah, I can be known as masculine...
580
00:31:02,235 --> 00:31:04,529
and dance this style
and make it look cool.
581
00:31:04,738 --> 00:31:07,324
It was important to me
because I come from Pittsburgh.
582
00:31:07,491 --> 00:31:09,659
And Gene Kelly is from Pittsburgh.
583
00:31:09,868 --> 00:31:13,622
And when I was dancing in Pittsburgh,
you know, I was often compared to him.
584
00:31:13,830 --> 00:31:16,958
I remember there was a big article
in the Pittsburgh paper when I was a kid.
585
00:31:17,167 --> 00:31:18,210
I was, like, 16.
586
00:31:18,418 --> 00:31:21,505
And there was an article that said,
"Will he be the next Gene Kelly?"
587
00:31:21,671 --> 00:31:25,842
So for me, you know, it was everything,
you know, Gene Kelly.
588
00:31:26,051 --> 00:31:28,387
Gene Kelly had smoothness about him.
589
00:31:28,553 --> 00:31:30,013
Floated when he danced.
590
00:31:30,222 --> 00:31:31,473
And it's so fluid...
591
00:31:31,640 --> 00:31:34,393
you can't sit there and watch and go:
592
00:31:34,559 --> 00:31:36,639
"Oh, it's this move, then this move,
then this move."
593
00:31:36,812 --> 00:31:41,775
It's just this one fluid story that he
tells throughout his entire dances.
594
00:31:41,983 --> 00:31:47,489
I think he also has an incredible style.
Just that smile, the charm of it, you know.
595
00:31:47,697 --> 00:31:49,866
He loved to dance.
He always throws his head back...
596
00:31:50,075 --> 00:31:51,827
when he's dancing, which I just love.
597
00:31:52,035 --> 00:31:58,250
Gene Kelly is so sexy,
he dances with such male bravado.
598
00:32:01,420 --> 00:32:03,922
MARSHALL.: Fred Astaire is always compared
with Gene Kelly.
599
00:32:04,089 --> 00:32:06,258
Fred Astaire was the top hat and tails.
600
00:32:06,466 --> 00:32:09,177
Gene Kelly
was the working man's dancer.
601
00:32:09,386 --> 00:32:11,638
People talk about Fred Astaire
being incredibly detailed.
602
00:32:11,847 --> 00:32:14,683
But I feel that Gene Kelly was too,
in his way.
603
00:32:14,891 --> 00:32:19,229
But there is a guts to his dancing,
like it's the last time he's gonna dance.
604
00:32:19,438 --> 00:32:20,480
That passion I love.
605
00:32:27,112 --> 00:32:28,822
ROONEY:
With Gene Kelly's movements...
606
00:32:29,030 --> 00:32:32,409
it seemed like any old person
watching the film could pick up...
607
00:32:32,617 --> 00:32:34,244
and do the dance steps.
608
00:32:34,453 --> 00:32:35,996
Seems a bit more:
609
00:32:36,163 --> 00:32:39,791
"Oh, I could do that, maybe,
if I had a few moments to rehearse that.”
610
00:32:40,000 --> 00:32:44,087
There was a ruggedness
about his performance.
611
00:32:44,296 --> 00:32:48,049
There was a realness
about his performance.
612
00:32:49,426 --> 00:32:50,506
SHUM:
When I did a number...
613
00:32:50,635 --> 00:32:54,347
in Legion of Extraordinary Dancers,
"Elliot's Shoes"...
614
00:32:54,556 --> 00:32:56,808
the influence came...
615
00:32:57,058 --> 00:32:59,019
from Gene Kelly, you know.
616
00:32:59,227 --> 00:33:02,230
How he would play a little bit
of physical comedy into his dance...
617
00:33:02,439 --> 00:33:08,028
but also give that strong,
masculine feel while telling a story.
618
00:33:08,236 --> 00:33:09,321
I think Gene Kelly...
619
00:33:09,488 --> 00:33:13,658
was the great original triple threat.
620
00:33:13,867 --> 00:33:16,161
And that's actor, singer and dancer.
621
00:33:16,369 --> 00:33:19,206
If you considered yourself an artist,
in their time...
622
00:33:19,372 --> 00:33:22,584
you had to be a triple threat,
have the ability to do it all.
623
00:33:22,792 --> 00:33:28,673
And to me, he was the only person, really,
to possess kind of, like, the fourth trait:
624
00:33:28,882 --> 00:33:30,675
Also to be a man.
625
00:33:30,884 --> 00:33:34,721
You know, to see him
have this very joyous moment...
626
00:33:34,930 --> 00:33:36,973
it spoke an emotion...
627
00:33:37,182 --> 00:33:40,810
yet a strength
that I'd never seen in films.
628
00:33:41,019 --> 00:33:44,189
[SINGING]
I'll walk down the lane
629
00:33:44,397 --> 00:33:47,776
With a happy refrain
630
00:33:47,984 --> 00:33:49,861
Just singin'
631
00:33:50,070 --> 00:33:53,198
Singin' in the rain
632
00:33:53,406 --> 00:33:57,452
Gene Kelly knew you were gonna
stare at him and watch him.
633
00:33:57,661 --> 00:34:00,330
He knew that.
You either have it or you don't.
634
00:34:00,539 --> 00:34:03,583
And that's why when he started
to create the dances that he did...
635
00:34:03,792 --> 00:34:07,087
he always knew
how to make his partner shine.
636
00:34:07,254 --> 00:34:11,841
How to lean back in such a way,
and say, "You're the star."
637
00:34:12,050 --> 00:34:13,510
He was brilliant at that.
638
00:34:13,677 --> 00:34:17,514
He drove the people,
but he drove himself...
639
00:34:17,722 --> 00:34:19,808
as much,
if not more, than he drove the people.
640
00:34:20,016 --> 00:34:23,436
Then he always had the ultimate good
of the project in mind.
641
00:34:23,645 --> 00:34:28,024
ROONEY: That is what these young
choreographers and directors and dancers...
642
00:34:28,191 --> 00:34:30,110
can take away
from Singin' in the Rain.
643
00:34:30,318 --> 00:34:33,321
The honesty that Gene Kelly brought
to those rehearsals.
644
00:34:33,530 --> 00:34:36,449
The tenacity to know
that you could make things better...
645
00:34:36,616 --> 00:34:38,285
and take it to the next level.
646
00:34:38,493 --> 00:34:42,706
Singin' in the Rain
has left such a giant footprint...
647
00:34:42,914 --> 00:34:45,959
on movies and musicals today.
648
00:34:46,167 --> 00:34:48,878
And I can tell you personally,
from personal experience...
649
00:34:49,087 --> 00:34:51,807
everything we did in High School Musical
is because of Gene Kelly.
650
00:34:52,007 --> 00:34:53,842
High School Musical 2
had a baseball number.
651
00:34:54,009 --> 00:34:57,846
And it was called "I Don't Dance.”
That was inspired by Gene Kelly.
652
00:34:58,013 --> 00:35:02,559
The number is supposed to be
Lucas Grabeel's character...
653
00:35:02,767 --> 00:35:05,478
teaching my character how to dance
through baseball.
654
00:35:05,687 --> 00:35:07,897
Before we did the number,
Kenny came up...
655
00:35:08,064 --> 00:35:10,984
and told us the inspiration
for the number itself.
656
00:35:11,192 --> 00:35:12,952
Gene Kelly used to work
with Frank Sinatra...
657
00:35:13,153 --> 00:35:15,030
and Frank didn't wanna dance
in any film.
658
00:35:15,238 --> 00:35:17,490
Gene said, "I'll show you.
659
00:35:17,741 --> 00:35:19,541
What do you love?"
He said, "I love baseball."
660
00:35:19,743 --> 00:35:21,623
BLEU: He took him out
onto the baseball field...
661
00:35:21,661 --> 00:35:27,125
and through the movements of baseball,
taught Frank Sinatra how to dance.
662
00:35:27,334 --> 00:35:31,880
You know, natural thought processes
and natural physical ability...
663
00:35:32,088 --> 00:35:34,841
whether it's baseball or, you know...
664
00:35:35,008 --> 00:35:36,301
just sheer anger...
665
00:35:36,468 --> 00:35:37,802
how do you turn it into dance?
666
00:35:38,011 --> 00:35:41,097
How do you find the dance
within the activity?
667
00:35:41,306 --> 00:35:42,974
You know,
because dance is everywhere.
668
00:35:43,183 --> 00:35:44,703
That's what Gene Kelly was so good at.
669
00:35:44,893 --> 00:35:47,121
SHANKMAN: I met Gene Kelly
because I was friends with his kids.
670
00:35:47,145 --> 00:35:49,731
I went to parties at his house
when I was in high school...
671
00:35:49,939 --> 00:35:52,442
that the kids would have,
and he was just a cool man.
672
00:35:52,651 --> 00:35:54,444
But one my greatest memories...
673
00:35:54,653 --> 00:35:58,782
was when I was dancing on the Oscar's
in 1990...
674
00:35:58,990 --> 00:36:01,743
for Paula Abdul,
who was the choreographer at that time.
675
00:36:01,951 --> 00:36:05,080
Paula and Gene were very close.
676
00:36:05,288 --> 00:36:08,541
And he came to rehearsal
and watched us all dance.
677
00:36:08,750 --> 00:36:11,044
In my head, I was going,
"Am I really dancing...
678
00:36:11,252 --> 00:36:12,504
for Gene Kelly right now?
679
00:36:12,712 --> 00:36:16,216
Like, there's no possible way
that this is happening."
680
00:36:16,424 --> 00:36:19,135
And he loved it,
and he loved all of us and...
681
00:36:19,344 --> 00:36:22,472
Because we were all just a bunch of crazies
and killing ourselves for him.
682
00:36:22,681 --> 00:36:23,932
All I ever wanted to do...
683
00:36:24,099 --> 00:36:28,687
is do something
that I could actually gift Gene Kelly.
684
00:36:28,895 --> 00:36:33,441
So I created an animated character
named MC Skat Kat.
685
00:36:33,650 --> 00:36:35,402
I wanted do an homage...
686
00:36:35,568 --> 00:36:37,946
when he was dancing
with the little mouse.
687
00:36:38,154 --> 00:36:42,784
And when the video was done,
I sent it to Gene Kelly with a letter...
688
00:36:42,992 --> 00:36:47,706
saying that, "This is my gift to you
for all the gifts you've given me."
689
00:36:48,164 --> 00:36:53,169
And miraculously, within 72 hours...
690
00:36:53,378 --> 00:36:56,840
got a call
that Gene Kelly wants to meet me.
691
00:36:57,006 --> 00:37:00,885
I was sweating bullets.
I was so nervous to meet...
692
00:37:01,094 --> 00:37:03,346
He was a legend to me.
When I did get to meet him...
693
00:37:03,555 --> 00:37:05,724
it was as if
we had known each other forever.
694
00:37:05,932 --> 00:37:10,770
We became two friends, two dancers
that were just constantly chatting...
695
00:37:10,979 --> 00:37:14,232
back and forth,
and answering and asking questions.
696
00:37:14,441 --> 00:37:20,989
After I had that first meeting at his home,
we'd have tea every week...
697
00:37:21,197 --> 00:37:24,200
for the last two and a half years
of his life.
698
00:37:25,493 --> 00:37:27,370
It was magical.
699
00:37:28,913 --> 00:37:31,475
BOY 1: Hey, there's Don Lockwood!
BOY 2: Hey, give me an autograph!
700
00:37:31,499 --> 00:37:33,752
BOY 3: Sure.
BOY 4: I want a souvenir!
701
00:37:33,960 --> 00:37:36,713
If Singin' in the Rain
feels more contemporary...
702
00:37:36,880 --> 00:37:39,007
than most musicals of its era...
703
00:37:39,215 --> 00:37:42,552
it's probably
because there is a playfulness...
704
00:37:42,761 --> 00:37:44,012
in this musical.
705
00:37:44,220 --> 00:37:46,431
It is sort of the perfect...
706
00:37:46,598 --> 00:37:50,727
behind-the-scenes
Hollywood send-up of itself.
707
00:37:50,935 --> 00:37:54,856
It's funny that Singin' in the Rain
is still so relevant today.
708
00:37:55,064 --> 00:37:59,569
But I think it's because
it doesn't take itself too seriously.
709
00:37:59,778 --> 00:38:01,070
Like, it makes fun of an era.
710
00:38:01,279 --> 00:38:04,574
You're beautiful. Audiences think
your voice matches.
711
00:38:04,783 --> 00:38:07,535
We gotta keep our stars
from looking bad at any cost.
712
00:38:07,744 --> 00:38:09,245
No one's got that much money.
713
00:38:09,454 --> 00:38:11,080
It was a great wink at Hollywood...
714
00:38:11,289 --> 00:38:13,917
way before people were winking
at Hollywood.
715
00:38:14,125 --> 00:38:15,460
All about the pure joy.
716
00:38:15,668 --> 00:38:18,755
And it celebrated the industry
while it was sending it up.
717
00:38:20,340 --> 00:38:22,717
The artistic visual...
718
00:38:23,051 --> 00:38:24,093
of that movie...
719
00:38:24,302 --> 00:38:27,180
Is always referenced, is stunning.
720
00:38:27,388 --> 00:38:29,516
To me, that's the bar.
721
00:38:29,724 --> 00:38:35,396
We're living in a world right now of CGl,
computer-generated images.
722
00:38:35,605 --> 00:38:38,191
And that's pretty amazing.
723
00:38:38,358 --> 00:38:40,235
There are some wonderful movies
out there.
724
00:38:40,443 --> 00:38:44,656
But most of that movie was done
with real props...
725
00:38:44,864 --> 00:38:46,199
everything was real.
726
00:38:46,366 --> 00:38:50,286
I think the reason why the movie
doesn't seem dated even now today...
727
00:38:50,453 --> 00:38:54,249
Is because it takes place
within the industry, you know.
728
00:38:54,457 --> 00:38:56,097
Within this film business that we have...
729
00:38:56,292 --> 00:38:59,504
that it's always continually trying
to keep up with the times.
730
00:38:59,712 --> 00:39:01,965
Always staying forward-thinking.
731
00:39:02,173 --> 00:39:05,093
The sound will run from it...
732
00:39:05,301 --> 00:39:07,804
through this wire, onto the record.
733
00:39:08,012 --> 00:39:10,807
-You got that gadget working?
SAM: All set.
734
00:39:11,015 --> 00:39:13,518
I think the story, you
can still relate to...
735
00:39:13,726 --> 00:39:17,522
because we are right now
making a transition in this time...
736
00:39:17,689 --> 00:39:20,024
traditional media into new media.
737
00:39:20,233 --> 00:39:23,194
And I think there will be a movie
that's gonna talk about this...
738
00:39:23,403 --> 00:39:25,280
as what Singin' in the Rain did...
739
00:39:25,446 --> 00:39:28,449
with the transition from silent films
to talking pictures.
740
00:39:28,658 --> 00:39:30,827
- What do you think?
- It will never amount to a thing.
741
00:39:31,035 --> 00:39:32,755
They said that about
the horseless carriage.
742
00:39:32,954 --> 00:39:34,038
Let's get on with the show.
743
00:39:34,247 --> 00:39:35,915
I think Singin'in the Rain...
744
00:39:36,082 --> 00:39:40,378
still feels contemporary
because the dancing is timeless.
745
00:39:49,429 --> 00:39:52,807
It's not really pocketed
to one type of style...
746
00:39:52,974 --> 00:39:54,267
that lived in that moment.
747
00:39:54,434 --> 00:39:56,603
There's a lot of dance movies
that come out, it's like:
748
00:39:56,769 --> 00:39:59,689
"Oh, this is the hip-hop movie."
And it's like, "That's what that is."
749
00:39:59,898 --> 00:40:01,178
"Oh, that's that point in time."
750
00:40:01,357 --> 00:40:04,527
Singin' in the Rain, it's a little bit of,
you know...
751
00:40:04,694 --> 00:40:07,155
just dancing through life.
752
00:40:08,031 --> 00:40:09,699
SHANKMAN:
My approach to musicals now...
753
00:40:09,908 --> 00:40:12,493
is sort of informed
by the MGM-style stuff...
754
00:40:12,702 --> 00:40:14,162
where it's part of life.
755
00:40:14,370 --> 00:40:16,039
The world sings and dances...
756
00:40:16,247 --> 00:40:20,335
and you go through real places
in real time...
757
00:40:20,501 --> 00:40:22,837
singing and dancing.
It does take a little bit of nerve.
758
00:40:23,004 --> 00:40:25,715
Because it's still an utzy thing
in this world...
759
00:40:25,924 --> 00:40:27,884
10 just accept people
breaking out into song.
760
00:40:28,092 --> 00:40:30,428
Although, Glee has really helped.
761
00:40:31,471 --> 00:40:33,511
MORRISON: Everyone knows
I'm a big Gene Kelly fan...
762
00:40:33,681 --> 00:40:34,921
and Singin' in the Rain is...
763
00:40:35,058 --> 00:40:37,101
It's a perfect piece of art...
764
00:40:37,310 --> 00:40:39,270
and it's so preserved and...
765
00:40:39,437 --> 00:40:41,356
I watch it at least once a year.
766
00:40:41,564 --> 00:40:44,275
[SINGING] Broadway rhythm
It's got me
767
00:40:44,484 --> 00:40:47,862
Everybody dance
768
00:40:48,071 --> 00:40:51,157
There's something so great
about Gene Kelly.
769
00:40:51,366 --> 00:40:54,202
What he was doing was extraordinary.
One man on stage half the time...
770
00:40:54,410 --> 00:40:56,579
and he was doing incredible things.
771
00:40:56,788 --> 00:41:00,041
And he wasn't doing tricks,
and he was dancing.
772
00:41:03,711 --> 00:41:05,421
But there's always something magical.
773
00:41:05,630 --> 00:41:07,507
Every time you're watching,
you feel something.
774
00:41:07,715 --> 00:41:10,885
And that's...
To me, not very many films can do that.
775
00:41:11,344 --> 00:41:13,721
[SINGING] Make 'em laugh
Make 'em laugh
776
00:41:13,930 --> 00:41:15,848
ROONEY:
"Make 'em Laugh" was genius.
777
00:41:16,057 --> 00:41:17,183
I think Donald O'Connor...
778
00:41:17,392 --> 00:41:19,978
looks like he's doing
the first break dance...
779
00:41:20,186 --> 00:41:24,315
that has ever been invented
because he is actually breaking his body.
780
00:41:24,524 --> 00:41:28,277
He would do flips and land on his back,
then he would land on a chair, fall off...
781
00:41:28,444 --> 00:41:31,489
do all these incredible things.
So we were laughing.
782
00:41:32,490 --> 00:41:34,492
But I don't know if Donald was
while shooting it...
783
00:41:34,701 --> 00:41:37,453
because it looked
really tough and painful.
784
00:41:37,662 --> 00:41:39,264
[SINGS]
A great big custard pie in the face
785
00:41:39,288 --> 00:41:40,623
Make 'em laugh Make 'em laugh
786
00:41:40,832 --> 00:41:42,083
Make 'em laugh
787
00:41:43,626 --> 00:41:45,003
Make 'em laugh
788
00:41:45,211 --> 00:41:46,462
Don't ya...?
All the...
789
00:41:46,671 --> 00:41:47,714
What...?
790
00:41:47,922 --> 00:41:51,217
It was special in Glee when Ryan told us
that we would do "Make 'em Laugh."
791
00:41:51,426 --> 00:41:53,219
And you look
at Donald O'Connor's version...
792
00:41:53,386 --> 00:41:57,348
and you're just like,
"How the heck are we gonna do this?"
793
00:41:57,557 --> 00:42:00,018
I don't think there's been another number
on the show...
794
00:42:00,226 --> 00:42:02,895
that the actors have tried that hard.
795
00:42:03,104 --> 00:42:06,482
Because they have to pay
a proper tribute, you know.
796
00:42:06,691 --> 00:42:11,279
You can't do that number
and not attack it a hundred percent.
797
00:42:11,487 --> 00:42:13,489
Matt Morrison and I looked at each other
and said:
798
00:42:13,656 --> 00:42:15,376
"This is incredible
that we get to do this."
799
00:42:15,575 --> 00:42:18,995
And we, you know... We wanted to...
We learned how to do the wall flips...
800
00:42:19,203 --> 00:42:20,329
a couple of days before.
801
00:42:20,538 --> 00:42:21,789
My first thought is like:
802
00:42:21,998 --> 00:42:24,125
"Dear God, what are we gonna do
about that backflip?"
803
00:42:24,333 --> 00:42:26,669
Like, I can't make my actors
flip off a wall.
804
00:42:26,878 --> 00:42:31,799
We didn't have to do it on concrete,
and we did it in one day instead of two.
805
00:42:32,008 --> 00:42:34,427
Because he shot the whole thing
in one day.
806
00:42:34,635 --> 00:42:37,013
And they had to, ha, ha...
807
00:42:37,472 --> 00:42:40,233
Something wasn't right with the camera
or the coloring or something...
808
00:42:40,433 --> 00:42:41,993
So he had to come back the next day.
809
00:42:42,185 --> 00:42:44,353
I think he was 27
when he did that number.
810
00:42:44,562 --> 00:42:47,023
[SINGING] Make 'em laugh Ha, ha
811
00:42:48,816 --> 00:42:51,319
Make 'em laugh Ha, ha
812
00:42:52,779 --> 00:42:55,656
Make 'em laugh Ha, ha, ha
813
00:42:57,533 --> 00:43:00,453
It was so thrilling, but so, like,
nerve-racking at the same time.
814
00:43:00,661 --> 00:43:02,514
SHUM: We were there with padding
and everything.
815
00:43:02,538 --> 00:43:04,248
Cool. Like, fall on my head,
it's all good.
816
00:43:04,457 --> 00:43:06,257
That was great
we were there for each other...
817
00:43:06,417 --> 00:43:08,753
and were like, kind of
pushing each other to keep going.
818
00:43:08,920 --> 00:43:14,258
From a choreographer's standpoint,
it's a nightmare. Ha-ha-ha.
819
00:43:14,884 --> 00:43:17,386
Because so much can go wrong.
820
00:43:17,595 --> 00:43:23,392
And if your actor gets broken,
we have problems here.
821
00:43:23,601 --> 00:43:27,188
SHUM: When Zach, the choreographer,
was like, "Are you sure you wanna do this?"
822
00:43:27,396 --> 00:43:29,524
We're, "Why are you scaring us?
We wanna do this."
823
00:43:30,066 --> 00:43:31,818
It's really not a hard move.
824
00:43:32,026 --> 00:43:34,028
You just have to get out of your head
and be like:
825
00:43:34,237 --> 00:43:35,530
"I'm not gonna break my neck."
826
00:43:38,407 --> 00:43:40,409
It was sheer excitement.
827
00:43:43,913 --> 00:43:46,499
MORRISON: That was my favorite episode ever
to shoot.
828
00:43:48,459 --> 00:43:52,296
I just felt so nostalgic
and so paying homage...
829
00:43:52,505 --> 00:43:57,677
to such a great movie,
and a movie that I love so much.
830
00:43:57,885 --> 00:44:03,474
So that was such a rewarding time
on Glee...
831
00:44:03,641 --> 00:44:07,979
to have them sort of encompass
the life of the number.
832
00:44:08,187 --> 00:44:10,064
But I just had the best time that day.
833
00:44:10,606 --> 00:44:14,735
[SINGING]
Make 'em laugh
834
00:44:14,944 --> 00:44:18,573
I'm singin' in the rain
835
00:44:18,781 --> 00:44:21,742
Just singin' in the rain
836
00:44:21,951 --> 00:44:25,037
When you look
at "Singin' in the Rain," the number...
837
00:44:25,246 --> 00:44:27,582
you hear about him
having 103-degree fever...
838
00:44:27,790 --> 00:44:31,085
and being in the rain,
and, like, his clothes shrinking.
839
00:44:31,294 --> 00:44:32,879
WOODLEE:
And now watching the movie...
840
00:44:33,921 --> 00:44:38,384
it proves testament why Gene Kelly
is a legend, like, that is why.
841
00:44:38,593 --> 00:44:42,555
Because you can do this
and make it look fun.
842
00:44:48,477 --> 00:44:52,607
This is the number that has captured
the imagination over the decades...
843
00:44:52,773 --> 00:44:54,293
and has never worn out its welcome.
844
00:44:54,984 --> 00:45:00,281
Whether it's part of the movie,
or you extract it as an excerpt, it works.
845
00:45:00,489 --> 00:45:02,617
And it works for everybody.
And yet, it's simple.
846
00:45:02,825 --> 00:45:05,536
And nobody,
certainly Kelly nor Donen or anybody...
847
00:45:05,703 --> 00:45:08,183
thought it was going to be
one of the great classic numbers.
848
00:45:08,372 --> 00:45:12,710
But it's not bigness.
It's the idea and the execution.
849
00:45:12,877 --> 00:45:15,546
And in this case,
it's a relatively simple idea.
850
00:45:15,755 --> 00:45:18,174
For me,
to highlight Singin' in the Rain...
851
00:45:18,341 --> 00:45:22,929
and when, you know,
Gene has his moment singing in the rain...
852
00:45:23,137 --> 00:45:24,597
it was a timeless moment.
853
00:45:24,764 --> 00:45:26,564
I mean, many highlights
actually come from it.
854
00:45:26,724 --> 00:45:29,727
Him stepping on the pole
and pushing his umbrella out.
855
00:45:29,936 --> 00:45:33,296
That's the one thing that I'd remembered
before I had actually seen the entire piece.
856
00:45:36,651 --> 00:45:42,114
In 2007, when I did Singin' in the Rain,
my version was a tribute to Gene.
857
00:45:42,281 --> 00:45:46,827
[SINGING]
I'm singin' in the rain
858
00:45:47,036 --> 00:45:49,997
Just singin' in the rain
859
00:45:50,206 --> 00:45:54,418
In terms of making Singin' in the Rain
a reality, a staple, for me...
860
00:45:54,585 --> 00:45:56,145
it was just an opportunity to dream.
861
00:45:56,295 --> 00:46:00,633
To pay tribute to an incredible dancer
and singer, actor.
862
00:46:00,841 --> 00:46:04,804
So dark up above
863
00:46:05,012 --> 00:46:07,265
The sun's in my heart
864
00:46:07,473 --> 00:46:08,833
USHER:
It was motivation, you know.
865
00:46:08,933 --> 00:46:12,270
It was an opportunity for me
to grow myself.
866
00:46:12,478 --> 00:46:16,482
I felt like, "Wow, this is something
that I'd like to do someday."
867
00:46:16,691 --> 00:46:19,610
It's not one that I think many people
would even wanna go after...
868
00:46:19,819 --> 00:46:21,404
because it's such a difficult piece.
869
00:46:21,612 --> 00:46:23,572
I challenged myself in making it...
870
00:46:23,781 --> 00:46:25,741
because I knew that in his creation...
871
00:46:25,950 --> 00:46:28,494
he did it in a collection of one takes
fully through.
872
00:46:28,703 --> 00:46:30,955
I really attempted to do the same thing.
873
00:46:31,122 --> 00:46:34,417
I did fall short, but I tried. Heh.
874
00:46:37,962 --> 00:46:43,426
It was an honor to be a part of something
that would celebrate acting, dance...
875
00:46:43,634 --> 00:46:46,679
the theatrical vision of a moment.
876
00:46:46,887 --> 00:46:49,223
It was my opportunity
to really take that next step...
877
00:46:49,390 --> 00:46:52,560
and show the rest of the world
that this is really what entertainment is.
878
00:46:56,939 --> 00:46:58,149
MARSHALL;:
I think musicals...
879
00:46:58,357 --> 00:47:00,797
I was told when I was doing Chicago,
they were out of fashion.
880
00:47:00,943 --> 00:47:03,863
Nobody wants to see them.
But I never feel a genre is dead.
881
00:47:04,030 --> 00:47:06,824
Especially an American-made genre...
882
00:47:07,033 --> 00:47:08,868
like the musical.
That's ours, you know.
883
00:47:09,035 --> 00:47:11,203
That's something we created.
884
00:47:15,708 --> 00:47:17,311
KLAPOW:
If you look at Singin'in the Rain...
885
00:47:17,335 --> 00:47:19,895
all of the musical numbers
are like little, mini music videos.
886
00:47:20,046 --> 00:47:22,465
So when I approach working
on a music video...
887
00:47:22,673 --> 00:47:24,513
I think about the choreography,
and I think:
888
00:47:24,675 --> 00:47:27,219
"How would they shoot this?
How are we supposed to shoot this?"
889
00:47:27,386 --> 00:47:29,638
Gene Kelly is still influencing
music videos today.
890
00:47:29,847 --> 00:47:32,016
All because of Singin' in the Rain.
891
00:47:32,224 --> 00:47:35,269
I think if there's anything
a young performer...
892
00:47:35,478 --> 00:47:39,398
should take from this movie
it is integrity of your art.
893
00:47:39,607 --> 00:47:41,734
It's the level of perfection
that you want...
894
00:47:41,942 --> 00:47:45,946
and it's how much respect
you want to give to your art.
895
00:47:46,155 --> 00:47:50,743
To this day, I've yet to see anyone...
896
00:47:50,951 --> 00:47:56,999
embody the dedication and commitment
to the art of dance as Gene Kelly.
897
00:47:57,208 --> 00:48:01,170
That's what Gene always instilled in me,
is that:
898
00:48:01,379 --> 00:48:03,672
"Fail to prepare, prepare to fail."
899
00:48:03,881 --> 00:48:08,177
He said that may sound blunt and brutal,
but that's exactly what it is.
900
00:48:08,386 --> 00:48:12,598
The reason why I admire Gene Kelly
so much is that dedication, you know.
901
00:48:12,807 --> 00:48:15,309
To me, everything within our career
is about hard work.
902
00:48:15,518 --> 00:48:20,356
The second you feel like you are as good
as you can be, you've lost everything.
903
00:48:20,564 --> 00:48:22,733
And Gene Kelly
is a perfect representation...
904
00:48:22,942 --> 00:48:25,694
of just someone who continues
to get better and better and better.
905
00:48:25,903 --> 00:48:30,241
[SINGING]
Everybody sing and dance
906
00:48:30,991 --> 00:48:35,871
Oh, that Broadway rhythm
907
00:48:46,340 --> 00:48:48,020
Singin' in the Rain
is the perfect musical.
908
00:48:48,217 --> 00:48:51,387
That's Gene Kelly.
He lets you dance through life.
909
00:48:51,595 --> 00:48:54,515
Like, he lets you know
that anything can be choreographed...
910
00:48:54,682 --> 00:48:57,726
and anything can be a dance.
911
00:48:58,394 --> 00:49:00,646
I can't believe I've had the opportunity
to do films...
912
00:49:00,855 --> 00:49:03,607
like High School Musical
and entertain a whole new generation...
913
00:49:03,816 --> 00:49:08,404
the way that Gene Kelly did for me,
and I wanna pinch myself.
914
00:49:11,532 --> 00:49:13,372
Yeah, I'm more than proud
to be an influence...
915
00:49:13,576 --> 00:49:17,204
and inspiration for, you know,
entertainers to come, you know.
916
00:49:17,413 --> 00:49:19,415
You know,
no different than Gene Kelly was to me.
917
00:49:19,623 --> 00:49:22,793
And I hope to continue
being an inspiration for the arts.
918
00:49:23,002 --> 00:49:25,004
And I do see it, you know,
and I feel great.
919
00:49:25,212 --> 00:49:28,007
You know,
but there is yet so much more to do...
920
00:49:28,215 --> 00:49:32,636
bringing the elements of dancing
and theatrics back to the forefront.
921
00:49:32,845 --> 00:49:34,096
It really makes me happy.
922
00:49:48,986 --> 00:49:52,364
[LIP-SYNCHING] Orchestras play
Taking your breath away
923
00:49:52,698 --> 00:49:55,409
Broadway rhythm It's got me
924
00:49:55,618 --> 00:49:58,287
Everybody sing and dance
925
00:49:58,454 --> 00:50:00,122
[BLEU LAUGHS]
75898
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