November 28, 2025 • 43 mins
We're dancing through life with a wickedly good choreographer!
Jenna and Kevin hang out with their pal, the exceptionally talented choreographer Christopher Scott! They discuss the joy of witnessing his journey from "Glee" to "So You Think You Can Dance" and the "Wicked" movies. They also learn the fun way he found out he was going to work on "Wicked," the emotions he felt watching Cynthia Erivo's audition, witnessing Jeff Goldblum becoming the Wizard in real time, Jonathan Bailey's take on Fiyero, which helped inspire some of the choreography, and seeing director Jon M. Chu build the world of Oz! Plus a deep dive into his creative process and inspiration for certain scenes, the dance break that didn't make it to the screen, and some fun memories from working on Glee!
For fun, exclusive content, and behind-the-scenes clips, follow us on Instagram @andthatswhatyoureallymissedpod & TikTok @thatswhatyoureallymissed!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin an iHeartRadio podcast, Welcome to You, and that's
what you really missed Today is a I know we
say this a lot, but today I have someone I
have known for forever. Jenna has known him for almost
as long. But we have Chris Scott, the choreographer from
Wicked and Wicked for good and just everything. He's done,
(00:26):
lots and lots of things. Three time Emmy nominee. He
did Dancing with the Stars and so you think you
can dance at alex ste He was in the Glee pilot,
a bunch of the step ups, I could really in
the heights, lots of things. But he's so talented and
so nice and so kind and it has been a
wild ride to watch him take over the world. So
(00:49):
we get to talk to him. It's a fascinating conversation
about Wicked. We learned all the things. This is Chris Scott.
Speaker 3 (00:56):
FUA.
Speaker 2 (00:57):
How you doing good.
Speaker 3 (00:59):
I'm good. I'm still good.
Speaker 1 (01:00):
How y'all doing It's good to see you you too.
Speaker 2 (01:04):
Are you exhausted?
Speaker 3 (01:06):
I'm in the best way possible. I am exhausted, I'm rejuvenated.
I'm all the things so great.
Speaker 4 (01:14):
Congratulations, yeah, congrats, and just having the biggest movie in
the world again.
Speaker 3 (01:21):
It's crazy. I mean I think I do. I will
say this is very full circle to me sitting here
with you all, because I remember, I don't know if
you guys remember, but before Lee happened, when you guys
shot it, before it was ever out into the world,
there was a birthday party, I think it was Amber's
birthday party, and we all hung out. I was like,
(01:41):
this group is so special and group of talent. It was.
It was karaoke night and we're all like out of
control talent, and I was like, this is amazing. So
now to be here today chatting with y'all about wicked.
Speaker 4 (01:56):
So wild, Yes, Like I've known Chris since I was
six fifteen sixteen, wow, something something like that.
Speaker 2 (02:09):
And it has been such like a gift to watch
you and John sort of rise together through this and
just do bigger project after bigger project, things that are
so beloved by people all around the world, like it
couldn't happen to anybody nicer and you just haven't stopped.
And it's been just incredible to watch because you know,
(02:30):
we've been around long enough where things don't always happen
to the nice ones, and it's really nice when they
do and deserved. And I'm just so extraordinarily proud and
happy for you.
Speaker 3 (02:45):
Yes, thank you, thank you, and make me emotional already
we're just starting. I can't get you.
Speaker 5 (02:50):
Already, you can let it out.
Speaker 2 (02:54):
Yeah, it's good to crect.
Speaker 5 (02:57):
Well, we're so happy to have you here, full circle,
just to talk about all the amazing things. I mean,
tell us a little bit about what the Wicked ride
has been like for you. And I know you and
John have worked together forever, So what were those like
early conversations like and kind of getting in the room
like you got in the room with us, What was
it like gating in the room with like that cast
(03:20):
and all those special people, because obviously the chemistry is
similar and that it's electric.
Speaker 3 (03:25):
Yeah, no, it is. It is crazy. It's been it's
been a journey.
Speaker 4 (03:29):
You know.
Speaker 3 (03:29):
It is interesting because we you know, starting off, even
just jumping in with John was like already it was weird.
It was like this familiar feeling of like, Okay, cool,
we're doing this just like we do anything. It's the
web series of LEXD. It's a commercial that's the thing. Yeah,
it's all just the same, you know, at the end
of the day, at the core of it all, there's
(03:51):
a story to tell, and that's something that John's really
stilled in me as a choreographer and just as a
general storyteller. So I think the first feeling I had
was like, Okay, this is a very complicated story. This
is a massive undertaking, but there's a it's a beautiful story,
you know, and John's all over it. And John's going
(04:13):
to get in there with a microscope and I'm gonna
be standing off his shoulder and digest everything that he
can throw at me. And he throws a lot at you.
You know. John is like it's you can tell from
the work like it really is. He is so thoughtful
and so it is this kind of it. It was
like a lot of anxiety of like, Okay, we're taking
(04:33):
on this, this beloved piece. But it was also a
lot of excitement because I was like, oh, I get
to do this with John bringing me into this world,
and I just can't wait to see what he's got going.
So that was kind of the beginning stages. I mean,
I went to his house, you know, the way that
he invited me into the movie. Was just very casual,
(04:55):
almost in like and how we are and he just
I came over to his house one day he hands
me it hat. I knew it was happening, but I
don't ever ask, like, hey, like, yeah, what's going on
with your next movie? Can I do? I don't do.
He's got enough pressure on him. Yeah, and he just
you know, he handed me a wicked hat and was
like you ready to go to Odds?
Speaker 2 (05:13):
And I was damn wow.
Speaker 3 (05:16):
Let's go. And then that was at that point, it
was like let's get to work.
Speaker 2 (05:21):
And now when was this? Was this like twenty twenty No.
Speaker 3 (05:25):
It was it was like twenty what was it, twenty
twenty two? I think it was like, okay, you were
because when did we film? I mean, it's been such
a journey. I might be off a year. I can't
even gotta get back.
Speaker 2 (05:37):
Also, the pandemics like time's not real and completely messed
everything up.
Speaker 3 (05:41):
It messed up everything, but you know, getting back on track. Yeah, yeah,
it was like February March of twenty twenty two, because
then I was out in London, you know, in like
June July, so it was to start auditioning dancers, which
(06:02):
was that was the first process, and I watched him cast,
which was very interesting to me because yeah, him make
these decisions and hear his thought process with you know,
working with Telsea, and that was like a whole experience
too because I got to see, you know, I'm very lucky.
I feel like John always like kind of lets you
if you're if you want to sit in that seat,
(06:23):
he'll he'll provide it for you. Yeah, He'll open that
curtain for you and you can see all the behind
the scenes things because I remember him talking about Cynthia
when she came into the room and it was he
was just like, I mean, that's like, there's no question
it is like and then he showed me her audition
tape from his iPhone. He facetimed me and showed me
(06:46):
the audition through a computer through a laptop as he
facetimed the screen, so it was like a screen through
a screen through a screen, and I'm still like, I
was so deeply affected. I was like I was bawling,
you know, Wizard and I and it was just some
thing different. And then Ari was the same thing where
it was just kind of like this thing where it
was like is she Glinda? I don't know, like he was,
(07:09):
he was trying to figure it out. And then I
remember the moment is like she's she came back over
and over and over again, put her through the auditions,
and there was there was that point I remember him
just being like, I mean she is like she the
modern day Glinda, and she is, you know, invested in
this in a way that like there's no there's no
one else. Yeah, yeah, it's been a special And then
(07:33):
just one by one, then Jonathan Bailey and you're like,
this is Michelle yo, Jeff go is Just one by
one they started flying and you're like, wow, this is
a cast that no matter what happens in this movie.
Like at that point, it was like they're special. You
have all the pieces of the puzzle in place. Now
we just got to go. We'll get to work.
Speaker 2 (07:50):
What what is that process like of because you assemble
this sort of like All Star crew, but you don't
necessarily know personality, is chemistry going to be there, how
people's work processes when you all finally get together to
start working through. Obviously everyone's super professional. I already know
(08:11):
the answer, Like everyone's great and wonderful, but you know,
like you've taught me before, Like things people learn differently,
things fit on people's bodies differently. Like what was that
dynamic like of finding a rhythm I guess and what
you do and that that influence like what you were
coming up with in terms of choreography for the movie.
Speaker 3 (08:35):
Yeah, one hundred percent. I mean I my mentality is to,
you know, embrace the versions of the characters that these
actors are playing. And I think that's something I developed
through the years. I didn't always used to be like that.
I think there was a time when I was younger
as a boreographer where I was like, you know, get
to the dance, tell the story that I'm picturing in
(08:55):
my head right like presented to everybody, and hope it
all kind of just locks them together right now. It's like,
you know, these actors won their top notch, they're the
highest level. They have a perspective like I have a
version of Alpha, but in my head, we all do.
But what's Cynthia Arrivo's version, because that's the version that
(09:15):
we're going to tell, right then what is Jeff Goldblum's
version of the Wizards? So then Ari's version of Linda?
So we sat down, I sat down one by one.
Before I started, I had ideas of choreography, but really
it started with me asking them like how do they
see their characters? And it was early on, so I
know that their character is also going to develop. Yeah,
(09:38):
so you ask the questions. But then you also, you know,
with open ears, kind of just let it play out
and yeah, just pivot as you develop more. And they
each had so much interesting things to say. I mean,
I canmer each way crazy, Like I remember Cynthia talking
about like the realization that like alphab you know, she's
(10:01):
not or like she comes from money, so like the
idea that she doesn't know how to dance and this
this idea that she's not elegant and that she's the thing.
She's like, it doesn't that's not the case for her.
I was like, great, got it, check and then that's
that did it? Yeah, you know, played a huge helping
hand for me to to create movement for her. You know. Jeff,
(10:23):
I remember he started off the whole thing by just
we were talking like this and then he just goes
you know, because Chris, you know, I am a sentimental
man and I always longed to be a father and
and I'm like, oh, he's gonna do oh, he's doing
it like a monologue. He's doing sentimental funny. So not
only character, he explained the character. I'm like watching him
(10:44):
tell like he's showing me the character efforts. And he
did it a second time. He did it in loops like,
so then he just kept going. I was thinking like,
oh my god, am I gonna have to like cut
Jeff golb Off because we also do a herse at
some point. And the second time you did it, I
was like, Okay, this is interesting. Take it all in.
And then the third time he did it, he did
it a third time, I'm like, surely he's not going
to do a fourth. But for me it started going like, oh,
(11:07):
he's not just showing me who the wizard is. He's
experiencing the wizard in real time right now. I see
him figuring it out. Yeah, yeah, yeah, conversation. And then
the fourth time he was gonna he was starting to
do it, and it was like, you know, I feel
like I got the information we'rep and it was like Jeff,
hold on, I got an idea, and then like we
get it up on it speaking He's like, okay, and
(11:27):
he's like, yeah, he the candy floor. He just started
to play.
Speaker 1 (11:30):
Yeah wow.
Speaker 2 (11:31):
I mean that's what it's all about. Like to be
at that level, right, like this is the biggest level
you can do something, and to understand that, like you
have to be able to allow that playfulness, allow that
because like everyone's done their work. These are people who
are at the top levels of their profession like you,
and like everyone's done the research and they're coming in
(11:52):
and just like what does this big soup look like
when we mix it all together?
Speaker 3 (11:56):
Absolutely, and which I would be remiss if I didn't
bring up my conversations with Jonathan Bailey because that was
actually very interesting to me too. And I remember when
he came in and we were talking about the depth
of Fierro, which you know, typically there is a version
where it's you know, it's this playoff of the scarecrow
and that idea that he doesn't have a brain and
(12:16):
that he's kind of like ditsy and the things. But
with Jonathan, it was very like there was so much
behind the eyes when he would talk about it, you
just get this sense of like such a rich character
that this like actor is about to die into and
it really inspired all of it. I mean we were
(12:37):
together like finding moments where it's like, oh, it's dancing
recory and we're doing this, and then you know, it
would be like in choreography a moment where he just
kind of stops and looks at things and you see
these moments and it's like whoa, and then he's back
into the dances. Yeah, and it was interesting.
Speaker 2 (12:52):
Yeah, you talked about you know, all these all these
people having perspectives of their characters. What was your or povs,
you know, like what was your pee of your perspective
of I guess like the language of dance through OZ,
(13:15):
you know, like I feel like munch can Land or
all these different places have yeses, They all have different people,
they all have different demographics. Like did that come into
like when you're all building every department building this world
together on a dance level, Like how did that inform
like what you were coming up? Like when we get
to in the first movie, when we get to OZ
(13:38):
for the first time, like when we get to.
Speaker 6 (13:40):
My god, it's the number I'm blinking one short day,
one short day, And you're like, oh, that is a
whole different style of choreography now, we're here and there's
a little cameo and like, you know, I was like, oh,
I love that we're switching this up, Like what was
what were those decisions?
Speaker 2 (13:58):
Like, how did you like your creative process?
Speaker 3 (14:02):
No, definitely, I love first of all, I love y'all questions.
You guys, it's different when you talk and a real deal. Yeah,
you know, No, it was really you know it the
first thing. Okay, it's like, well, this idea of world
building was really strong to me because I'm like, well,
(14:23):
that's what we're doing. You know, I'm here to support John.
I'm here to support the things I should I need,
and I'm watching him really build this world with all
the other departments. So if I'm building a dance, what
does that world look like? And the interesting thing, you know,
one of the first thoughts I had was well, it's odd,
so it's not of this world, so you want stuff
(14:44):
to feel a little unworldly. But it's also like, you know,
dances a human thing. Dances are very is a you know,
it's been built through this world, through culture, through thousands
of years of ritual and expression connections, so you're like,
you know, it's all there as well, so it's funny.
(15:04):
At first, I was like I wanted to feel like
out of this world. And then I started gravitating more
towards like, what's the inspiration I find from this world
that's actually I can project into this world, which then
became interesting. I'm very meta, as you can tell. Then
it was like, well, this is like the whole one
of this, Like is oz a real, actual place, like
(15:26):
what you know? Is it like the idea of the
Wizard coming from Omaha to hear what's his influence on
the world. So it started to become like this really
crazy journey. But it really started with each country in
Oz really as I started to like break it down
and I wanted to give each place its own style,
(15:47):
its own identity, culture, its own identity, so you know,
and munchkin Land was like, it's the working class, it's
the the builders, it's the artist, it's the people that
make the die, that make the yellow, the ricks and
the thing. So it became like really grounded and like
in the dirt, and I pictured, you know, I've been
(16:09):
working with a friend Editrres Junior in the Latin dance scene,
and I've gotten to know the history around Latin dance,
so I kind of took a lot of elements from that,
which comes from Africa, you know, the roots of it all.
So it's like it started to like take the shape
of like, oh, this is like the inspiration. And then
then you get to Shiz and you're like, well, what
do a bunch of anxious teenagers look like when they dance?
(16:31):
That's why they go up. It wasn't just like cool
movement with books. It was really like and that's why
they hold on to them so tight, because you want
to create this world of like, you know, frustration and
anxiety so that then Fierro can come into this world
and disrupt it all. You know. But then where does
(16:51):
he come from? You come from wiki country, which is
the military base. It's like, so that's why it's a
lot of like stepping and footwork and things. But then
you're like, well, what's but Fierra doesn't play by the rules,
so you have to get deep into that and now
he's I took a lot of inspiration from house dance
because of how does he free that up a little bit? Yeah,
(17:11):
and then it just kept going and then to get
to and then Gillikin just to touch them all. Now
that's where Glinda's from, and it's wealthy, and so you
tap into the ballet and uh, that's a dance format
was built in wealth and and it's you know, so
you're in that world and then Emerald City comes in,
(17:32):
and that's one of my favorite worlds because this is
like how I grew up in a metropolitan city. And
then you see all walks of life. That's why we
have all these different styles together.
Speaker 2 (17:43):
That's so funny you say that, because when it got
to Emerald City, I'm like, this is Chris.
Speaker 1 (17:48):
Yeah.
Speaker 2 (17:49):
Immediately I was just like besides seeing you like in it,
just like this is like this is the Chris I know,
and like a really like joyful you know it was,
which also then shows how capable and like deeply thinking
about thinking about everything else too. Yeah, because I think
it's just like an actor where you can like lose
(18:09):
them in a character. It's beautiful to be able to
see dance or the choreographer do that as well, and
the different switching up the different styles.
Speaker 1 (18:19):
Yeah.
Speaker 5 (18:19):
You also you had mentioned it before, but like this
is a massive undertaking for something that was so beloved
for so many years and was already a phenomenon. So
how do you how was that for you? And how
do you take something so iconic and and established and established, yeah,
and then flip it on his head, but also keep
(18:40):
the integrity of what you know, the people who created this,
you know, did, while also putting you know, the stamp
of your what your influences were, and the storytelling that
you guys are choosing how you're choosing to approach it,
Like what is that?
Speaker 1 (18:57):
Like?
Speaker 3 (18:58):
Yeah? I mean you know, I'm I'm I'm a lover
of the story, Like I'm a fan of the property myself.
So then it kind of just turned into like, well,
just take care of it like you would want to
if I'm an audience member, which i am, I'm like,
take care of it for anybody that loves this property.
That really was the first audience I was thinking about personally.
(19:20):
I mean, I feel like we all kind of were
in that world for all the other department heads or anything,
but it just felt like this innate responsibility to give
these people that have already been so deeply affected by
this show something that they'd be proud of. You know.
Another thing early in my career, like I wasn't as
aware of an audience I was just making stuff, and
(19:42):
I think now I'm like, oh, we're making stuff for
people too. People like work really hard and I and
I to buy the ticket to the theater to like
have an experience, and we owe them that. So and
then you add Wicket on top of that, and it
just became like a mission to of like how do we, yeah,
like get the people what they want?
Speaker 1 (20:05):
Yeah, that's a line from the movie.
Speaker 2 (20:09):
Well, I imagine it starts with or like at the top.
I feel like John is such a fan of things
and respectful in that way, like you guys had already
done in the Heights, which again is another beloved property,
right it means a lot to so many people, and
you guys successfully did that. And so I feel like,
(20:32):
do you think, like knowing him for so long and
also how you work of like when you come into
a project like that out of the respect of war
fans of this, then it just sort of trickles down
to every department or like everybody in it just wants
to has the same mission or approaching it in the
same way.
Speaker 3 (20:53):
Yeah. Absolutely, I mean John really does create an environment
that is no matter what it is, Like I'll do
a commercial with him. It's like we're all leaving, like,
oh my god, you're like hugging, You're like almost a tear.
It's you know, it's an interesting thing. And I think
it's such a testament to what a leader he is
as well as a creative genius. And I don't say
(21:14):
that word like some people, but like he really And
I'm so proud that I feel like I've gotten to
watch his growth in all of it. You have like
row seats, front row seat, and it's like, I remember
when we did Step Up to the streets.
Speaker 2 (21:27):
Yes, it was a big look amongst all of us.
That was a big deal.
Speaker 3 (21:33):
Yes, no, it was a big deal and and it
was amazing and it felt like this special thing. And
I remember, I'll never forget Once John told me about
Step Up three was gonna happen. He came to my apartment.
Now we're all friends, we've done we've all battled Miley
Cyris on YouTube. You were we didn't get you in there,
we got but you know, he told me before Step
(21:59):
Up three he was like, you know it's going to
be like that again. Step Up two is special, Okay.
He was preparing me for this new version of a
movie because he just thought, you know, through the system
of Hollywood, it was going to become now like oh,
we're making the sequel. Things are going to change, there's
gonna be different treatment, yeah, personalities, you know. But it
wasn't the case. It really was just as special and
(22:20):
it felt like, again, we're just making this beautiful thing,
you know, with John at the helm, creating this energy
that you just want to give your heart and soul
to it because you see him doing it. I mean,
he's like in that rain scene, that young director was
running in and out of the rain, fixing things and
pulling things again, and he'd be back at the monitor
like here we.
Speaker 1 (22:39):
Go, and and he was like, yeah, this is yeah.
Speaker 3 (22:42):
And from them, I mean, it always was like, oh,
this is these are the people I want to work for. Yeah,
and now I've been able to get to work with
this specific person for over eighteen years now, and it's like, man, yeah.
Speaker 2 (22:55):
I think one of the best signs of a leader
is knowing how and where to delegate and trust the people.
And like he trusts you clearly, and like you know,
obviously John deserves all the praise, but you also have
been doing a huge part of all these projects, and
(23:16):
you know that comes with you're not continuously getting hired
for something if you're not good people putting the right
vibe like he is out there. Because you're also in
charge of a lot as a choreographer, especially in Wicked.
You had a hell of a lot of dancers. Yeah,
doing a lot and all these like crazy scenes and
(23:38):
sets that you guys built, like how And I feel
like because of the progression of different films you guys
have done together in projects, are you comfortable now like
being in charge of running that department because it is
a full ass huge thing.
Speaker 3 (23:56):
Yeah. Yeah, I've grown up a lot. This was a
big one for me to grow up on. But it's
funny because you're you're the pressure is so high, you like,
you can't grow up on the project. You got to
kind of.
Speaker 2 (24:08):
Just like you got to get through it.
Speaker 3 (24:10):
You got to get through it. And I and I
learned a lot, and you know, I feel more comfortable.
It's funny. I get to do all these like extra
you know, Wicked promos and these shows and the things,
and I can feel how much I've grown up since,
you know, and you don't do it alone. You know,
I had an amazing team of associate choreographers and assistant
choreographer you know, comfort for Dokey was with me.
Speaker 2 (24:31):
Yes, it's not like.
Speaker 3 (24:34):
Bill Loft. This was with I've been working with for
it for you know, fifteen years. And then Emilio La Saul,
who's like my guy, that's like, you know, he's the
one in that tornado wheel, like doing all the things
that I can't physically do. Yeah, he's doing I mean,
blowing my mind every day. And who was out in
(24:56):
London who I met and she was like an incredible
assistant with me from day one and help me cast
all those dancers, and I mean to learn to get
to know the community in London was scary for me
because I'm like, I don't know these people like you
represent the movie. And she'd opened my eyes to an
incredible world of talent. I love the dancers in London
(25:19):
so much. It's a beautiful community, but so much talent. Yeah,
Like I'm like dying to do more jobs in London.
I'm like, get me back out there. I love it.
Like I mean, I'm repping with the hat right now.
Speaker 1 (25:29):
Yeah.
Speaker 3 (25:29):
Yeah, it's yeah, It's just I'm so grateful to those
dancers that really came, they showed up, because that's that's
all it takes, too, right, Like I can do everything
I want to do and work hard and stay up
till in the morning trying to figure out these dance numbers.
But if I come in and these dancers don't invest right,
it's not going to work, you know, right, It's it's
(25:52):
incredible when things just like sparky yeah set, You're like, wow,
it all came together one short day. Eight was crazy
because we had one hundred and sixty dancers, we had rain,
we had the sad strike which shifted the schedule, we
lost dancers that were featured, we had to restage, reblock it.
Speaker 1 (26:12):
It was wow.
Speaker 3 (26:13):
We were breaking up wonners because it wouldn't work in
the space with all the dancers and the timing that
we had to shoot it Like it was this weird
like number that was like this is going to be
a big dance number, and then you know.
Speaker 2 (26:27):
It turns into like the biggest Yeah yeah.
Speaker 3 (26:31):
John right there We'll be like yeah, I think I
think we could just keep it, you know, bigger, bigger,
and you're just like, okay, here we go, whatever you want.
Speaker 2 (26:37):
I also love like all the planning that goes into
this right, like you're building these massive sets, you're hiring dancers,
you're there for months, like and then you get to
the day of doing it, you're like, what's happening?
Speaker 4 (26:48):
Are what?
Speaker 2 (26:50):
What do we have to do now?
Speaker 3 (26:51):
Oh? It's raining? What that's cool? So what you shoot
on the other day? Well, the strike? So that's and
then we had Kristen and Anda Like that was razy
because then you have these icons joining the thing. You're
like you're sitting there going like, what is happening one day?
Because the rain and the strike and you're going like
it's a night shoot. You're like, okay, yeah, good luck everybody. Right,
(27:15):
they're like John like action and then all works and
you're just like, well, you hope it works because then, yeah,
you don't know until you see it on this.
Speaker 2 (27:23):
When you have every department firing on all cylinders, you
got it. When it comes time to actually the cameras.
Speaker 1 (27:29):
On, it just works.
Speaker 2 (27:32):
Yeah.
Speaker 1 (27:32):
What about what about Dancing through Life?
Speaker 5 (27:35):
Like that's such a massive undertaking too, like different locations,
different pieces, Ozda's ballroom with the ladies, Like, that's that's
huge too.
Speaker 1 (27:47):
What was that one?
Speaker 3 (27:48):
Like it was that's the first song I started with
when John told job, I was because I love that song.
I've always loved it. I love the melody. I think
I'm anything where they say the word so like it
warms your heart a little bit. I was like really
excited to do that number into like and I knew
(28:09):
in my mind. I was like, you know, on Broadway,
I think what Wayne did is brilliant, and I think
there's so much brilliant, so much he did. But when
you're like, okay, we get to take a camera now
and like be in. It was very exciting where that
number could go.
Speaker 1 (28:24):
Yeah, and you took it there.
Speaker 3 (28:28):
Thank you. I'm proud of it. You know, even like
people ask me all the time to like did Jonathan
Bailey do all that? How did he do? He did
all of that? Like anytime we had dance doubles or whatever,
it's just to like line up the shots. They this
cast was not letting a double grab a book with
(28:49):
the yeah, and you know and every little the flip
of the thing. I mean, he just did. And you know,
I was watching like pure excellence from each performance, and
it was it was really gratifying. Yeah, but it was
it was hard, you know. The tornado wheel itself was
(29:09):
like we didn't have it for a long time. I
was getting I had a model, a three D model,
and it's spinning and it's electric and I'm like with
a little action figuring up in there. It helped me
like kind of see sure at the end of the day,
nothing's happening. Yeah, kind of like nothing really happened until
you get inside that wheel. And then we only had
(29:30):
one for so long, so wow, see the layers, it's
a lot of Alice Brooks, the incredible cinematographer. We would
get together and talk about how we're going to shoot
it because you can't do a lot of things because
there's ladders around, so you can't you can put a
train arm through it. Yeah, you got to time it out.
I mean that could be a disaster. And we did
(29:53):
do that. We did put a crane arm in there
and that thing was rotating and we timed it perfectly.
Speaker 2 (29:57):
It was just it's like really.
Speaker 3 (30:00):
Special. All hands on deck. Yeah, because at the end
of the day, you know, John John wanted something. He
does this thing I think where there's like that element
not to put any pressure on his next job, but
he creates you know, with the production designer Nathan Crowley,
They're like, what's the really crazy thing that no one
will let us do? Like see that they'll let us
do it?
Speaker 2 (30:20):
And then yeah, we do it.
Speaker 3 (30:22):
And this was that moment. And you know, there'll be
times where I'm like, we've been talking about it and
is this going to work? Like I don't know?
Speaker 2 (30:30):
So how does that? My question is like how do
those conversations happen? Because like is he talking to the
production designer and it comes to you and be like, oh,
so this dance has to is going to happen within
a set or in a wheel like and like you
have to figure it out?
Speaker 3 (30:48):
Or is it?
Speaker 2 (30:48):
Like hey, is it more? Is it a collaboration of
we're thin, yeah, we we're thinking about this. What would
you want for this? Like how does that work?
Speaker 3 (30:57):
Yeah? I mean it's all collaboration, this whole thing really is.
It's funny. Everyone's a lot of people like who made
that move up? Where'd that come from? Where that I'm like,
at the end of the day, we have so much
conversations taking us in.
Speaker 2 (31:08):
This best idea wins in the moment, the.
Speaker 3 (31:11):
Best idea wins, And to be honest, it's all inspired
by the conversations that we're having, so it all kind
of forms together. You know that that Paul Taswell designed
will inspire a whole thing. So it's like, you know,
it's a really it's a beautiful thing, you know, looking back,
And that's why I did really feel like a once
in a lifetime thing because you know, or again it's
(31:32):
like or a John che thing because it just seems
to happen with him where it's just not always the case.
But you know that that tornado. I remember he told
me the idea, and I feel like, you know, sometimes
I'm in there with him when when the structure idea
is happening. But this one I remember him like, I
think he's been talking to Nathan already and they like
(31:53):
had this thought. But I know he wanted something that
felt like an Ossian bookcase. Literally, I think that became
the O and then the if you look the ladders
see and there was a moment where we did actually
line it up like you can see the word oz
in it, and you're just like, that's the level of thinking.
(32:14):
But then he when he told me about it, was
like he's like, do you think you can work with that?
And I'm like, I think that's incredible.
Speaker 1 (32:20):
I'll figure it out.
Speaker 3 (32:22):
And then yeah, he lets me play. There was a
moment when I had a different intro and I was like,
do we because you know I also then I'm like
I want to do and the everything in there, like
when do I get this opportunity again? And I play
around a little bit and then we go like, no,
I think actually this is the part the original idea
where it goes makes sense and going and and then
(32:44):
you know, we shot a bunch of stuff that we
had like some bt like I don't know where it
is now, but there's a whole dance break inside of
there that was kind of crazy with all these like
parkour performers flipping around, jumping around, you know, release release.
Speaker 4 (33:00):
Wow.
Speaker 2 (33:10):
The storytelling through dance in this movie or movies is
so important, and I think one of the most moving
moments in both movies comes from one of the dance
moves of them, like greeting each other, basically the hand
on the head moment, and when it comes back and
(33:33):
for good, it's really beautiful and moving. What was the
genesis of that creating something like that that is so
moving and story driven and like really important to the
two main characters relationship.
Speaker 3 (33:51):
Yeah, I mean that moment at the ozdask was very
important for all of us. So we just knew it
were like, this is not you know, this is not
to be like taken lightly. And so we had a
whole process. But I had originally choreographed some stuff in
a room with a bunch of dancers and it was
like right, and they were all doing other stuff and
I was just like trying to come up with, like,
what's some oddsdesk movement, knowing it's just going to develop.
(34:14):
And I didn't I don't know, I didn't really love
this stuff. So it was one of those things where
and this is how we are, you know. I'm like,
it's like ten pm and we're in London and I
hit up Comfort for dok. You know, I'm like, hey,
are you down to like workshop some more stuff? I
just want to like we're not there and we have
sent it tomorrow. She's like great, I'm on my way,
came over. We're up until like one in the morning,
just workshopping stuff in like my living room of the
(34:37):
place I'm staying in London, and you know, it started
to develop. You know, it also started to really hit
me that the movement that Alphaba would be inspired by
isn't of of the human dance styles, because that's she
doesn't connect with those those that's the group of people
that push her away, but she does connect with animals, Like,
(35:00):
let's create language that really does feel like it comes
from animals. And I remember Comfort was moving around and
she hit this posture with her on her head. I
was like, I love that I was and they were
like oh and then I'm like twinkled the fingers a little,
and we found this thing and it just to me.
I'm looking at Comfort and I'm like, she looks like
a bird. And then it was like this is this
(35:21):
is where? And it kind of was the move that
broke through. Not only did it create this thing that
was so meaningful, but it also kind of like pushed
us forward and the rest of the choreography and then
it was just like boom, let's go with that. And
then it's like flickering the feet because you know animals
do dance, yes, you know there's reality in that. So
it became like this bird dance for a lot of it,
(35:44):
and I didn't know that it was going to become
the greeting yet because we took the process and we
threw it on Cynthia and then we developed the whole
dance together. So I was thinking beyond Cynthia first, because
you know, you want to create on that Cynthia feels
amazing feeling. Yeah, yeah, again, it's a collaboration. We're in
(36:05):
the room, we're finding stuff with Cynthia. And then once
the number felt locked and it was like she feels good,
then we brought Ari into the process and then seeing
you know, the storyline is like she has to learn
the dance and imitate it, which I hate those moments
in most.
Speaker 2 (36:22):
Yes, that's a hard moment to work around.
Speaker 3 (36:25):
Yes, you know, they got to make it believable, and
I feel bad for these actors because you're like, you
got to sell it. But we tried to create enough
space where it felt believable and realistic.
Speaker 2 (36:35):
Totally. I totally agree with that. Yeah, the space in that,
like the pace of that whole scene, right, I never
had movies never have that much space to make those
things work like that. It has to happen like very quickly.
And because you had the time to do that, it
felt earned, in natural and organic, and.
Speaker 1 (36:56):
It was so important. I mean, so it's pivotal, right,
it's so so import.
Speaker 2 (37:00):
To cut you off.
Speaker 3 (37:00):
Sorry, No, it's true. You're right. I'm glad you're saying
it because it's true of these movies, you know. And
then people are like, oh, so the movies too and
a half. I'm like that timeline, that number doesn't really
mean anything, because if you're not telling the story right,
then like what are we doing? Like exactly you did
that space off? I could feel it. We're all looking
like this is pretty long. I mean, chance, your life
is long. It's very.
Speaker 2 (37:25):
Clows and it moves.
Speaker 3 (37:27):
Yeah, and but yeah, but then as soon as Ari
did this back to her the way that they performed it,
it was like, oh, that's a that's that's something special.
That's that's that's going to be a thing. And then
it did. And it wasn't planned for the other scenes.
It just started to happen. And then like we'd be
talking about the train scene and it's like, oh, they
should do, you know, and and then it just yeah,
(37:47):
developed from there and now seeing people do it you
know on TikTok, it's like crazy Instagram and like using
it as like a real little you know, connection between
each other. Is like, that's really gratifying.
Speaker 1 (38:03):
Before we let you go, what is the feeling that
Wicked leaves you with?
Speaker 3 (38:10):
Man, there it is. Now you're going to have me
get all of this. I mean it like, I mean
it's so cliche, but it's like the idea that it
has changed me for good is like so real. Like
it's really like, you know, we've been through so much
(38:32):
to make this and now it's out in the world
and it just feels like, you know, there is like
a greater purpose for doing all this work. And because
it is so it's not just you know, we didn't
just make a movie that's entertained. It's to like really
impact people and to like make people feel seen, you know,
(38:56):
raise some questions that are challenging in certain parts of
the world. You know, it's it's a lot, it's it's
really deep, and I think being a part of that
feeling like this great sense of purpose, you know, it's
like definitely putting me on that path of like this
is the type of work I want to do, and
(39:17):
it should become harder and harder to be like yeah,
I'll do that, I'll do this. Like it's changed me
and I just like I'm nervous, like I don't want
to chase the experience of it all because that's different,
that's its own thing and that's going to live and
y ever. But the idea of doing things that it's
just you know, important to people, and that that yeah.
Speaker 2 (39:42):
Meaningful and that's that is a good feeling to chase.
Speaker 5 (39:46):
I guess to have that perspective to chase things that
are meaningful and intentional and.
Speaker 2 (39:53):
In addition to creatively fulfilling and fun and of course, yeah,
all those things I want because it's poss it's possible.
Speaker 3 (40:02):
We we've we've I've been lucky enough to experience it
now and and through you know, we always comes back
to John Quo.
Speaker 2 (40:13):
It's like everybody comes up, he like brings the hop
because especially now, like everybody's at an age where everybody
knows what they're capable of. We all know what each
other is capable of. You trust those people, you know
they do good work. You know they're good to work
with and like you, it's you can't let this people go.
Speaker 5 (40:33):
Yeah, what a joy to watch you from working with
you and you know those early glee days to seeing
you grow and you know with you without John too,
just your own career, and so you think you can
dance watching your pieces that are have always been so
meaningful to me, and like watching that and watching you
flourish into a place where now you have a path
(40:55):
and a purpose and you know where your next work
is going to be and what it's going to mean
to you is so important, and we're just so happy
for you, and you know, it's just been such an honor.
Speaker 1 (41:07):
To chat with you again and reconnect.
Speaker 3 (41:10):
So thank you me too, you know, real quick before
we got you know fun fact, do you guys know
that I was in the pilot of Glee?
Speaker 1 (41:16):
Did you do one?
Speaker 3 (41:18):
I am in Vocal Adrenaline original number? I don't I.
I was up on the top of the thing. I
partnered U b parts ut miss that because I was
like in the corner, because I was struggling because it
(41:38):
was on these risers, my style.
Speaker 2 (41:40):
But because we were there, like I went and hung
out with the Vocal Adrenaline dancers. It was so long ago,
but like it was.
Speaker 3 (41:48):
So long ago because then we also did the what
was the one in the mall that it was it
safety dance, Safety Dance, I'm safe, So you know it.
Speaker 2 (41:57):
Was always so like that was doing the pilot. We
didn't know what the show was going to be, and
then having so many of my friends like you being
there and vocal adrenaline was so surreal.
Speaker 3 (42:08):
It was just like, it's a huge flex of mine.
I tell you all the time, like I was in
the pilot. Oh g.
Speaker 2 (42:17):
We were all there together.
Speaker 1 (42:20):
We love it. I love it.
Speaker 2 (42:23):
Thanks for doing this. We love you. I'm so proud
of you. It's like, what an incredible ride. And how
many people in the world now get to see and
love your work, Like that's just.
Speaker 1 (42:33):
Millions and millions and millions yea, all over.
Speaker 3 (42:36):
The world, beautiful work for them to see. And it's
important and it's powerful, and I think that's the most
gratifying thing. And I love y'all so much.
Speaker 2 (42:45):
You deserve it all.
Speaker 3 (42:46):
Thank you, Chris, Love you guys.
Speaker 2 (42:48):
See thank you again. That was the one and only
Chris Scott. I love him. I love him so much,
sweet man. Thank you Chris for joining us. Yes, we
love to have him back, like literally known that man
since we ran like a fake club at our friend's
(43:09):
dance studio when we were like sixteen. We had bouncers
and everything, so embarrassing. Thank you, Chris. Go see Wicked
for good. If you haven't already, you probably have, and
that's what you really missed. Thanks for listening, and follow
us on Instagram at and that's what you really miss pod.
Make sure to write us a review and leave us
five stars. See you next time.
And that's what you really missed with Jenna.
Speaker 2 (00:04):
And Kevin an iHeartRadio podcast, Welcome to You, and that's
what you really missed Today is a I know we
say this a lot, but today I have someone I
have known for forever. Jenna has known him for almost
as long. But we have Chris Scott, the choreographer from
Wicked and Wicked for good and just everything. He's done,
(00:26):
lots and lots of things. Three time Emmy nominee. He
did Dancing with the Stars and so you think you
can dance at alex ste He was in the Glee pilot,
a bunch of the step ups, I could really in
the heights, lots of things. But he's so talented and
so nice and so kind and it has been a
wild ride to watch him take over the world. So
(00:49):
we get to talk to him. It's a fascinating conversation
about Wicked. We learned all the things. This is Chris Scott.
Speaker 3 (00:56):
FUA.
Speaker 2 (00:57):
How you doing good.
Speaker 3 (00:59):
I'm good. I'm still good.
Speaker 1 (01:00):
How y'all doing It's good to see you you too.
Speaker 2 (01:04):
Are you exhausted?
Speaker 3 (01:06):
I'm in the best way possible. I am exhausted, I'm rejuvenated.
I'm all the things so great.
Speaker 4 (01:14):
Congratulations, yeah, congrats, and just having the biggest movie in
the world again.
Speaker 3 (01:21):
It's crazy. I mean I think I do. I will
say this is very full circle to me sitting here
with you all, because I remember, I don't know if
you guys remember, but before Lee happened, when you guys
shot it, before it was ever out into the world,
there was a birthday party, I think it was Amber's
birthday party, and we all hung out. I was like,
(01:41):
this group is so special and group of talent. It was.
It was karaoke night and we're all like out of
control talent, and I was like, this is amazing. So
now to be here today chatting with y'all about wicked.
Speaker 4 (01:56):
So wild, Yes, Like I've known Chris since I was
six fifteen sixteen, wow, something something like that.
Speaker 2 (02:09):
And it has been such like a gift to watch
you and John sort of rise together through this and
just do bigger project after bigger project, things that are
so beloved by people all around the world, like it
couldn't happen to anybody nicer and you just haven't stopped.
And it's been just incredible to watch because you know,
(02:30):
we've been around long enough where things don't always happen
to the nice ones, and it's really nice when they
do and deserved. And I'm just so extraordinarily proud and
happy for you.
Speaker 3 (02:45):
Yes, thank you, thank you, and make me emotional already
we're just starting. I can't get you.
Speaker 5 (02:50):
Already, you can let it out.
Speaker 2 (02:54):
Yeah, it's good to crect.
Speaker 5 (02:57):
Well, we're so happy to have you here, full circle,
just to talk about all the amazing things. I mean,
tell us a little bit about what the Wicked ride
has been like for you. And I know you and
John have worked together forever, So what were those like
early conversations like and kind of getting in the room
like you got in the room with us, What was
it like gating in the room with like that cast
(03:20):
and all those special people, because obviously the chemistry is
similar and that it's electric.
Speaker 3 (03:25):
Yeah, no, it is. It is crazy. It's been it's
been a journey.
Speaker 4 (03:29):
You know.
Speaker 3 (03:29):
It is interesting because we you know, starting off, even
just jumping in with John was like already it was weird.
It was like this familiar feeling of like, Okay, cool,
we're doing this just like we do anything. It's the
web series of LEXD. It's a commercial that's the thing. Yeah,
it's all just the same, you know, at the end
of the day, at the core of it all, there's
(03:51):
a story to tell, and that's something that John's really
stilled in me as a choreographer and just as a
general storyteller. So I think the first feeling I had
was like, Okay, this is a very complicated story. This
is a massive undertaking, but there's a it's a beautiful story,
you know, and John's all over it. And John's going
(04:13):
to get in there with a microscope and I'm gonna
be standing off his shoulder and digest everything that he
can throw at me. And he throws a lot at you.
You know. John is like it's you can tell from
the work like it really is. He is so thoughtful
and so it is this kind of it. It was
like a lot of anxiety of like, Okay, we're taking
(04:33):
on this, this beloved piece. But it was also a
lot of excitement because I was like, oh, I get
to do this with John bringing me into this world,
and I just can't wait to see what he's got going.
So that was kind of the beginning stages. I mean,
I went to his house, you know, the way that
he invited me into the movie. Was just very casual,
(04:55):
almost in like and how we are and he just
I came over to his house one day he hands
me it hat. I knew it was happening, but I
don't ever ask, like, hey, like, yeah, what's going on
with your next movie? Can I do? I don't do.
He's got enough pressure on him. Yeah, and he just
you know, he handed me a wicked hat and was
like you ready to go to Odds?
Speaker 2 (05:13):
And I was damn wow.
Speaker 3 (05:16):
Let's go. And then that was at that point, it
was like let's get to work.
Speaker 2 (05:21):
And now when was this? Was this like twenty twenty No.
Speaker 3 (05:25):
It was it was like twenty what was it, twenty
twenty two? I think it was like, okay, you were
because when did we film? I mean, it's been such
a journey. I might be off a year. I can't
even gotta get back.
Speaker 2 (05:37):
Also, the pandemics like time's not real and completely messed
everything up.
Speaker 3 (05:41):
It messed up everything, but you know, getting back on track. Yeah, yeah,
it was like February March of twenty twenty two, because
then I was out in London, you know, in like
June July, so it was to start auditioning dancers, which
(06:02):
was that was the first process, and I watched him cast,
which was very interesting to me because yeah, him make
these decisions and hear his thought process with you know,
working with Telsea, and that was like a whole experience
too because I got to see, you know, I'm very lucky.
I feel like John always like kind of lets you
if you're if you want to sit in that seat,
(06:23):
he'll he'll provide it for you. Yeah, He'll open that
curtain for you and you can see all the behind
the scenes things because I remember him talking about Cynthia
when she came into the room and it was he
was just like, I mean, that's like, there's no question
it is like and then he showed me her audition
tape from his iPhone. He facetimed me and showed me
(06:46):
the audition through a computer through a laptop as he
facetimed the screen, so it was like a screen through
a screen through a screen, and I'm still like, I
was so deeply affected. I was like I was bawling,
you know, Wizard and I and it was just some
thing different. And then Ari was the same thing where
it was just kind of like this thing where it
was like is she Glinda? I don't know, like he was,
(07:09):
he was trying to figure it out. And then I
remember the moment is like she's she came back over
and over and over again, put her through the auditions,
and there was there was that point I remember him
just being like, I mean she is like she the
modern day Glinda, and she is, you know, invested in
this in a way that like there's no there's no
one else. Yeah, yeah, it's been a special And then
(07:33):
just one by one, then Jonathan Bailey and you're like,
this is Michelle yo, Jeff go is Just one by
one they started flying and you're like, wow, this is
a cast that no matter what happens in this movie.
Like at that point, it was like they're special. You
have all the pieces of the puzzle in place. Now
we just got to go. We'll get to work.
Speaker 2 (07:50):
What what is that process like of because you assemble
this sort of like All Star crew, but you don't
necessarily know personality, is chemistry going to be there, how
people's work processes when you all finally get together to
start working through. Obviously everyone's super professional. I already know
(08:11):
the answer, Like everyone's great and wonderful, but you know,
like you've taught me before, Like things people learn differently,
things fit on people's bodies differently. Like what was that
dynamic like of finding a rhythm I guess and what
you do and that that influence like what you were
coming up with in terms of choreography for the movie.
Speaker 3 (08:35):
Yeah, one hundred percent. I mean I my mentality is to,
you know, embrace the versions of the characters that these
actors are playing. And I think that's something I developed
through the years. I didn't always used to be like that.
I think there was a time when I was younger
as a boreographer where I was like, you know, get
to the dance, tell the story that I'm picturing in
(08:55):
my head right like presented to everybody, and hope it
all kind of just locks them together right now. It's like,
you know, these actors won their top notch, they're the
highest level. They have a perspective like I have a
version of Alpha, but in my head, we all do.
But what's Cynthia Arrivo's version, because that's the version that
(09:15):
we're going to tell, right then what is Jeff Goldblum's
version of the Wizards? So then Ari's version of Linda?
So we sat down, I sat down one by one.
Before I started, I had ideas of choreography, but really
it started with me asking them like how do they
see their characters? And it was early on, so I
know that their character is also going to develop. Yeah,
(09:38):
so you ask the questions. But then you also, you know,
with open ears, kind of just let it play out
and yeah, just pivot as you develop more. And they
each had so much interesting things to say. I mean,
I canmer each way crazy, Like I remember Cynthia talking
about like the realization that like alphab you know, she's
(10:01):
not or like she comes from money, so like the
idea that she doesn't know how to dance and this
this idea that she's not elegant and that she's the thing.
She's like, it doesn't that's not the case for her.
I was like, great, got it, check and then that's
that did it? Yeah, you know, played a huge helping
hand for me to to create movement for her. You know. Jeff,
(10:23):
I remember he started off the whole thing by just
we were talking like this and then he just goes
you know, because Chris, you know, I am a sentimental
man and I always longed to be a father and
and I'm like, oh, he's gonna do oh, he's doing
it like a monologue. He's doing sentimental funny. So not
only character, he explained the character. I'm like watching him
(10:44):
tell like he's showing me the character efforts. And he
did it a second time. He did it in loops like,
so then he just kept going. I was thinking like,
oh my god, am I gonna have to like cut
Jeff golb Off because we also do a herse at
some point. And the second time you did it, I
was like, Okay, this is interesting. Take it all in.
And then the third time he did it, he did
it a third time, I'm like, surely he's not going
to do a fourth. But for me it started going like, oh,
(11:07):
he's not just showing me who the wizard is. He's
experiencing the wizard in real time right now. I see
him figuring it out. Yeah, yeah, yeah, conversation. And then
the fourth time he was gonna he was starting to
do it, and it was like, you know, I feel
like I got the information we'rep and it was like Jeff,
hold on, I got an idea, and then like we
get it up on it speaking He's like, okay, and
(11:27):
he's like, yeah, he the candy floor. He just started
to play.
Speaker 1 (11:30):
Yeah wow.
Speaker 2 (11:31):
I mean that's what it's all about. Like to be
at that level, right, like this is the biggest level
you can do something, and to understand that, like you
have to be able to allow that playfulness, allow that
because like everyone's done their work. These are people who
are at the top levels of their profession like you,
and like everyone's done the research and they're coming in
(11:52):
and just like what does this big soup look like
when we mix it all together?
Speaker 3 (11:56):
Absolutely, and which I would be remiss if I didn't
bring up my conversations with Jonathan Bailey because that was
actually very interesting to me too. And I remember when
he came in and we were talking about the depth
of Fierro, which you know, typically there is a version
where it's you know, it's this playoff of the scarecrow
and that idea that he doesn't have a brain and
(12:16):
that he's kind of like ditsy and the things. But
with Jonathan, it was very like there was so much
behind the eyes when he would talk about it, you
just get this sense of like such a rich character
that this like actor is about to die into and
it really inspired all of it. I mean we were
(12:37):
together like finding moments where it's like, oh, it's dancing
recory and we're doing this, and then you know, it
would be like in choreography a moment where he just
kind of stops and looks at things and you see
these moments and it's like whoa, and then he's back
into the dances. Yeah, and it was interesting.
Speaker 2 (12:52):
Yeah, you talked about you know, all these all these
people having perspectives of their characters. What was your or povs,
you know, like what was your pee of your perspective
of I guess like the language of dance through OZ,
(13:15):
you know, like I feel like munch can Land or
all these different places have yeses, They all have different people,
they all have different demographics. Like did that come into
like when you're all building every department building this world
together on a dance level, Like how did that inform
like what you were coming up? Like when we get
to in the first movie, when we get to OZ
(13:38):
for the first time, like when we get to.
Speaker 6 (13:40):
My god, it's the number I'm blinking one short day,
one short day, And you're like, oh, that is a
whole different style of choreography now, we're here and there's
a little cameo and like, you know, I was like, oh,
I love that we're switching this up, Like what was
what were those decisions?
Speaker 2 (13:58):
Like, how did you like your creative process?
Speaker 3 (14:02):
No, definitely, I love first of all, I love y'all questions.
You guys, it's different when you talk and a real deal. Yeah,
you know, No, it was really you know it the
first thing. Okay, it's like, well, this idea of world
building was really strong to me because I'm like, well,
(14:23):
that's what we're doing. You know, I'm here to support John.
I'm here to support the things I should I need,
and I'm watching him really build this world with all
the other departments. So if I'm building a dance, what
does that world look like? And the interesting thing, you know,
one of the first thoughts I had was well, it's odd,
so it's not of this world, so you want stuff
(14:44):
to feel a little unworldly. But it's also like, you know,
dances a human thing. Dances are very is a you know,
it's been built through this world, through culture, through thousands
of years of ritual and expression connections, so you're like,
you know, it's all there as well, so it's funny.
(15:04):
At first, I was like I wanted to feel like
out of this world. And then I started gravitating more
towards like, what's the inspiration I find from this world
that's actually I can project into this world, which then
became interesting. I'm very meta, as you can tell. Then
it was like, well, this is like the whole one
of this, Like is oz a real, actual place, like
(15:26):
what you know? Is it like the idea of the
Wizard coming from Omaha to hear what's his influence on
the world. So it started to become like this really
crazy journey. But it really started with each country in
Oz really as I started to like break it down
and I wanted to give each place its own style,
(15:47):
its own identity, culture, its own identity, so you know,
and munchkin Land was like, it's the working class, it's
the the builders, it's the artist, it's the people that
make the die, that make the yellow, the ricks and
the thing. So it became like really grounded and like
in the dirt, and I pictured, you know, I've been
(16:09):
working with a friend Editrres Junior in the Latin dance scene,
and I've gotten to know the history around Latin dance,
so I kind of took a lot of elements from that,
which comes from Africa, you know, the roots of it all.
So it's like it started to like take the shape
of like, oh, this is like the inspiration. And then
then you get to Shiz and you're like, well, what
do a bunch of anxious teenagers look like when they dance?
(16:31):
That's why they go up. It wasn't just like cool
movement with books. It was really like and that's why
they hold on to them so tight, because you want
to create this world of like, you know, frustration and
anxiety so that then Fierro can come into this world
and disrupt it all. You know. But then where does
(16:51):
he come from? You come from wiki country, which is
the military base. It's like, so that's why it's a
lot of like stepping and footwork and things. But then
you're like, well, what's but Fierra doesn't play by the rules,
so you have to get deep into that and now
he's I took a lot of inspiration from house dance
because of how does he free that up a little bit? Yeah,
(17:11):
and then it just kept going and then to get
to and then Gillikin just to touch them all. Now
that's where Glinda's from, and it's wealthy, and so you
tap into the ballet and uh, that's a dance format
was built in wealth and and it's you know, so
you're in that world and then Emerald City comes in,
(17:32):
and that's one of my favorite worlds because this is
like how I grew up in a metropolitan city. And
then you see all walks of life. That's why we
have all these different styles together.
Speaker 2 (17:43):
That's so funny you say that, because when it got
to Emerald City, I'm like, this is Chris.
Speaker 1 (17:48):
Yeah.
Speaker 2 (17:49):
Immediately I was just like besides seeing you like in it,
just like this is like this is the Chris I know,
and like a really like joyful you know it was,
which also then shows how capable and like deeply thinking
about thinking about everything else too. Yeah, because I think
it's just like an actor where you can like lose
(18:09):
them in a character. It's beautiful to be able to
see dance or the choreographer do that as well, and
the different switching up the different styles.
Speaker 1 (18:19):
Yeah.
Speaker 5 (18:19):
You also you had mentioned it before, but like this
is a massive undertaking for something that was so beloved
for so many years and was already a phenomenon. So
how do you how was that for you? And how
do you take something so iconic and and established and established, yeah,
and then flip it on his head, but also keep
(18:40):
the integrity of what you know, the people who created this,
you know, did, while also putting you know, the stamp
of your what your influences were, and the storytelling that
you guys are choosing how you're choosing to approach it,
Like what is that?
Speaker 1 (18:57):
Like?
Speaker 3 (18:58):
Yeah? I mean you know, I'm I'm I'm a lover
of the story, Like I'm a fan of the property myself.
So then it kind of just turned into like, well,
just take care of it like you would want to
if I'm an audience member, which i am, I'm like,
take care of it for anybody that loves this property.
That really was the first audience I was thinking about personally.
(19:20):
I mean, I feel like we all kind of were
in that world for all the other department heads or anything,
but it just felt like this innate responsibility to give
these people that have already been so deeply affected by
this show something that they'd be proud of. You know.
Another thing early in my career, like I wasn't as
aware of an audience I was just making stuff, and
(19:42):
I think now I'm like, oh, we're making stuff for
people too. People like work really hard and I and
I to buy the ticket to the theater to like
have an experience, and we owe them that. So and
then you add Wicket on top of that, and it
just became like a mission to of like how do we, yeah,
like get the people what they want?
Speaker 1 (20:05):
Yeah, that's a line from the movie.
Speaker 2 (20:09):
Well, I imagine it starts with or like at the top.
I feel like John is such a fan of things
and respectful in that way, like you guys had already
done in the Heights, which again is another beloved property,
right it means a lot to so many people, and
you guys successfully did that. And so I feel like,
(20:32):
do you think, like knowing him for so long and
also how you work of like when you come into
a project like that out of the respect of war
fans of this, then it just sort of trickles down
to every department or like everybody in it just wants
to has the same mission or approaching it in the
same way.
Speaker 3 (20:53):
Yeah. Absolutely, I mean John really does create an environment
that is no matter what it is, Like I'll do
a commercial with him. It's like we're all leaving, like,
oh my god, you're like hugging, You're like almost a tear.
It's you know, it's an interesting thing. And I think
it's such a testament to what a leader he is
as well as a creative genius. And I don't say
(21:14):
that word like some people, but like he really And
I'm so proud that I feel like I've gotten to
watch his growth in all of it. You have like
row seats, front row seat, and it's like, I remember
when we did Step Up to the streets.
Speaker 2 (21:27):
Yes, it was a big look amongst all of us.
That was a big deal.
Speaker 3 (21:33):
Yes, no, it was a big deal and and it
was amazing and it felt like this special thing. And
I remember, I'll never forget Once John told me about
Step Up three was gonna happen. He came to my apartment.
Now we're all friends, we've done we've all battled Miley
Cyris on YouTube. You were we didn't get you in there,
we got but you know, he told me before Step
(21:59):
Up three he was like, you know it's going to
be like that again. Step Up two is special, Okay.
He was preparing me for this new version of a
movie because he just thought, you know, through the system
of Hollywood, it was going to become now like oh,
we're making the sequel. Things are going to change, there's
gonna be different treatment, yeah, personalities, you know. But it
wasn't the case. It really was just as special and
(22:20):
it felt like, again, we're just making this beautiful thing,
you know, with John at the helm, creating this energy
that you just want to give your heart and soul
to it because you see him doing it. I mean,
he's like in that rain scene, that young director was
running in and out of the rain, fixing things and
pulling things again, and he'd be back at the monitor
like here we.
Speaker 1 (22:39):
Go, and and he was like, yeah, this is yeah.
Speaker 3 (22:42):
And from them, I mean, it always was like, oh,
this is these are the people I want to work for. Yeah,
and now I've been able to get to work with
this specific person for over eighteen years now, and it's like, man, yeah.
Speaker 2 (22:55):
I think one of the best signs of a leader
is knowing how and where to delegate and trust the people.
And like he trusts you clearly, and like you know,
obviously John deserves all the praise, but you also have
been doing a huge part of all these projects, and
(23:16):
you know that comes with you're not continuously getting hired
for something if you're not good people putting the right
vibe like he is out there. Because you're also in
charge of a lot as a choreographer, especially in Wicked.
You had a hell of a lot of dancers. Yeah,
doing a lot and all these like crazy scenes and
(23:38):
sets that you guys built, like how And I feel
like because of the progression of different films you guys
have done together in projects, are you comfortable now like
being in charge of running that department because it is
a full ass huge thing.
Speaker 3 (23:56):
Yeah. Yeah, I've grown up a lot. This was a
big one for me to grow up on. But it's
funny because you're you're the pressure is so high, you like,
you can't grow up on the project. You got to
kind of.
Speaker 2 (24:08):
Just like you got to get through it.
Speaker 3 (24:10):
You got to get through it. And I and I
learned a lot, and you know, I feel more comfortable.
It's funny. I get to do all these like extra
you know, Wicked promos and these shows and the things,
and I can feel how much I've grown up since,
you know, and you don't do it alone. You know,
I had an amazing team of associate choreographers and assistant
choreographer you know, comfort for Dokey was with me.
Speaker 2 (24:31):
Yes, it's not like.
Speaker 3 (24:34):
Bill Loft. This was with I've been working with for
it for you know, fifteen years. And then Emilio La Saul,
who's like my guy, that's like, you know, he's the
one in that tornado wheel, like doing all the things
that I can't physically do. Yeah, he's doing I mean,
blowing my mind every day. And who was out in
(24:56):
London who I met and she was like an incredible
assistant with me from day one and help me cast
all those dancers, and I mean to learn to get
to know the community in London was scary for me
because I'm like, I don't know these people like you
represent the movie. And she'd opened my eyes to an
incredible world of talent. I love the dancers in London
(25:19):
so much. It's a beautiful community, but so much talent. Yeah,
Like I'm like dying to do more jobs in London.
I'm like, get me back out there. I love it.
Like I mean, I'm repping with the hat right now.
Speaker 1 (25:29):
Yeah.
Speaker 3 (25:29):
Yeah, it's yeah, It's just I'm so grateful to those
dancers that really came, they showed up, because that's that's
all it takes, too, right, Like I can do everything
I want to do and work hard and stay up
till in the morning trying to figure out these dance numbers.
But if I come in and these dancers don't invest right,
it's not going to work, you know, right, It's it's
(25:52):
incredible when things just like sparky yeah set, You're like, wow,
it all came together one short day. Eight was crazy
because we had one hundred and sixty dancers, we had rain,
we had the sad strike which shifted the schedule, we
lost dancers that were featured, we had to restage, reblock it.
Speaker 1 (26:12):
It was wow.
Speaker 3 (26:13):
We were breaking up wonners because it wouldn't work in
the space with all the dancers and the timing that
we had to shoot it Like it was this weird
like number that was like this is going to be
a big dance number, and then you know.
Speaker 2 (26:27):
It turns into like the biggest Yeah yeah.
Speaker 3 (26:31):
John right there We'll be like yeah, I think I
think we could just keep it, you know, bigger, bigger,
and you're just like, okay, here we go, whatever you want.
Speaker 2 (26:37):
I also love like all the planning that goes into
this right, like you're building these massive sets, you're hiring dancers,
you're there for months, like and then you get to
the day of doing it, you're like, what's happening?
Speaker 4 (26:48):
Are what?
Speaker 2 (26:50):
What do we have to do now?
Speaker 3 (26:51):
Oh? It's raining? What that's cool? So what you shoot
on the other day? Well, the strike? So that's and
then we had Kristen and Anda Like that was razy
because then you have these icons joining the thing. You're
like you're sitting there going like, what is happening one day?
Because the rain and the strike and you're going like
it's a night shoot. You're like, okay, yeah, good luck everybody. Right,
(27:15):
they're like John like action and then all works and
you're just like, well, you hope it works because then, yeah,
you don't know until you see it on this.
Speaker 2 (27:23):
When you have every department firing on all cylinders, you
got it. When it comes time to actually the cameras.
Speaker 1 (27:29):
On, it just works.
Speaker 2 (27:32):
Yeah.
Speaker 1 (27:32):
What about what about Dancing through Life?
Speaker 5 (27:35):
Like that's such a massive undertaking too, like different locations,
different pieces, Ozda's ballroom with the ladies, Like, that's that's
huge too.
Speaker 1 (27:47):
What was that one?
Speaker 3 (27:48):
Like it was that's the first song I started with
when John told job, I was because I love that song.
I've always loved it. I love the melody. I think
I'm anything where they say the word so like it
warms your heart a little bit. I was like really
excited to do that number into like and I knew
(28:09):
in my mind. I was like, you know, on Broadway,
I think what Wayne did is brilliant, and I think
there's so much brilliant, so much he did. But when
you're like, okay, we get to take a camera now
and like be in. It was very exciting where that
number could go.
Speaker 1 (28:24):
Yeah, and you took it there.
Speaker 3 (28:28):
Thank you. I'm proud of it. You know, even like
people ask me all the time to like did Jonathan
Bailey do all that? How did he do? He did
all of that? Like anytime we had dance doubles or whatever,
it's just to like line up the shots. They this
cast was not letting a double grab a book with
(28:49):
the yeah, and you know and every little the flip
of the thing. I mean, he just did. And you know,
I was watching like pure excellence from each performance, and
it was it was really gratifying. Yeah, but it was
it was hard, you know. The tornado wheel itself was
(29:09):
like we didn't have it for a long time. I
was getting I had a model, a three D model,
and it's spinning and it's electric and I'm like with
a little action figuring up in there. It helped me
like kind of see sure at the end of the day,
nothing's happening. Yeah, kind of like nothing really happened until
you get inside that wheel. And then we only had
(29:30):
one for so long, so wow, see the layers, it's
a lot of Alice Brooks, the incredible cinematographer. We would
get together and talk about how we're going to shoot
it because you can't do a lot of things because
there's ladders around, so you can't you can put a
train arm through it. Yeah, you got to time it out.
I mean that could be a disaster. And we did
(29:53):
do that. We did put a crane arm in there
and that thing was rotating and we timed it perfectly.
Speaker 2 (29:57):
It was just it's like really.
Speaker 3 (30:00):
Special. All hands on deck. Yeah, because at the end
of the day, you know, John John wanted something. He
does this thing I think where there's like that element
not to put any pressure on his next job, but
he creates you know, with the production designer Nathan Crowley,
They're like, what's the really crazy thing that no one
will let us do? Like see that they'll let us
do it?
Speaker 2 (30:20):
And then yeah, we do it.
Speaker 3 (30:22):
And this was that moment. And you know, there'll be
times where I'm like, we've been talking about it and
is this going to work? Like I don't know?
Speaker 2 (30:30):
So how does that? My question is like how do
those conversations happen? Because like is he talking to the
production designer and it comes to you and be like, oh,
so this dance has to is going to happen within
a set or in a wheel like and like you
have to figure it out?
Speaker 3 (30:48):
Or is it?
Speaker 2 (30:48):
Like hey, is it more? Is it a collaboration of
we're thin, yeah, we we're thinking about this. What would
you want for this? Like how does that work?
Speaker 3 (30:57):
Yeah? I mean it's all collaboration, this whole thing really is.
It's funny. Everyone's a lot of people like who made
that move up? Where'd that come from? Where that I'm like,
at the end of the day, we have so much
conversations taking us in.
Speaker 2 (31:08):
This best idea wins in the moment, the.
Speaker 3 (31:11):
Best idea wins, And to be honest, it's all inspired
by the conversations that we're having, so it all kind
of forms together. You know that that Paul Taswell designed
will inspire a whole thing. So it's like, you know,
it's a really it's a beautiful thing, you know, looking back,
And that's why I did really feel like a once
in a lifetime thing because you know, or again it's
(31:32):
like or a John che thing because it just seems
to happen with him where it's just not always the case.
But you know that that tornado. I remember he told
me the idea, and I feel like, you know, sometimes
I'm in there with him when when the structure idea
is happening. But this one I remember him like, I
think he's been talking to Nathan already and they like
(31:53):
had this thought. But I know he wanted something that
felt like an Ossian bookcase. Literally, I think that became
the O and then the if you look the ladders
see and there was a moment where we did actually
line it up like you can see the word oz
in it, and you're just like, that's the level of thinking.
(32:14):
But then he when he told me about it, was
like he's like, do you think you can work with that?
And I'm like, I think that's incredible.
Speaker 1 (32:20):
I'll figure it out.
Speaker 3 (32:22):
And then yeah, he lets me play. There was a
moment when I had a different intro and I was like,
do we because you know I also then I'm like
I want to do and the everything in there, like
when do I get this opportunity again? And I play
around a little bit and then we go like, no,
I think actually this is the part the original idea
where it goes makes sense and going and and then
(32:44):
you know, we shot a bunch of stuff that we
had like some bt like I don't know where it
is now, but there's a whole dance break inside of
there that was kind of crazy with all these like
parkour performers flipping around, jumping around, you know, release release.
Speaker 4 (33:00):
Wow.
Speaker 2 (33:10):
The storytelling through dance in this movie or movies is
so important, and I think one of the most moving
moments in both movies comes from one of the dance
moves of them, like greeting each other, basically the hand
on the head moment, and when it comes back and
(33:33):
for good, it's really beautiful and moving. What was the
genesis of that creating something like that that is so
moving and story driven and like really important to the
two main characters relationship.
Speaker 3 (33:51):
Yeah, I mean that moment at the ozdask was very
important for all of us. So we just knew it
were like, this is not you know, this is not
to be like taken lightly. And so we had a
whole process. But I had originally choreographed some stuff in
a room with a bunch of dancers and it was
like right, and they were all doing other stuff and
I was just like trying to come up with, like,
what's some oddsdesk movement, knowing it's just going to develop.
(34:14):
And I didn't I don't know, I didn't really love
this stuff. So it was one of those things where
and this is how we are, you know. I'm like,
it's like ten pm and we're in London and I
hit up Comfort for dok. You know, I'm like, hey,
are you down to like workshop some more stuff? I
just want to like we're not there and we have
sent it tomorrow. She's like great, I'm on my way,
came over. We're up until like one in the morning,
just workshopping stuff in like my living room of the
(34:37):
place I'm staying in London, and you know, it started
to develop. You know, it also started to really hit
me that the movement that Alphaba would be inspired by
isn't of of the human dance styles, because that's she
doesn't connect with those those that's the group of people
that push her away, but she does connect with animals, Like,
(35:00):
let's create language that really does feel like it comes
from animals. And I remember Comfort was moving around and
she hit this posture with her on her head. I
was like, I love that I was and they were
like oh and then I'm like twinkled the fingers a little,
and we found this thing and it just to me.
I'm looking at Comfort and I'm like, she looks like
a bird. And then it was like this is this
(35:21):
is where? And it kind of was the move that
broke through. Not only did it create this thing that
was so meaningful, but it also kind of like pushed
us forward and the rest of the choreography and then
it was just like boom, let's go with that. And
then it's like flickering the feet because you know animals
do dance, yes, you know there's reality in that. So
it became like this bird dance for a lot of it,
(35:44):
and I didn't know that it was going to become
the greeting yet because we took the process and we
threw it on Cynthia and then we developed the whole
dance together. So I was thinking beyond Cynthia first, because
you know, you want to create on that Cynthia feels
amazing feeling. Yeah, yeah, again, it's a collaboration. We're in
(36:05):
the room, we're finding stuff with Cynthia. And then once
the number felt locked and it was like she feels good,
then we brought Ari into the process and then seeing
you know, the storyline is like she has to learn
the dance and imitate it, which I hate those moments
in most.
Speaker 2 (36:22):
Yes, that's a hard moment to work around.
Speaker 3 (36:25):
Yes, you know, they got to make it believable, and
I feel bad for these actors because you're like, you
got to sell it. But we tried to create enough
space where it felt believable and realistic.
Speaker 2 (36:35):
Totally. I totally agree with that. Yeah, the space in that,
like the pace of that whole scene, right, I never
had movies never have that much space to make those
things work like that. It has to happen like very quickly.
And because you had the time to do that, it
felt earned, in natural and organic, and.
Speaker 1 (36:56):
It was so important. I mean, so it's pivotal, right,
it's so so import.
Speaker 2 (37:00):
To cut you off.
Speaker 3 (37:00):
Sorry, No, it's true. You're right. I'm glad you're saying
it because it's true of these movies, you know. And
then people are like, oh, so the movies too and
a half. I'm like that timeline, that number doesn't really
mean anything, because if you're not telling the story right,
then like what are we doing? Like exactly you did
that space off? I could feel it. We're all looking
like this is pretty long. I mean, chance, your life
is long. It's very.
Speaker 2 (37:25):
Clows and it moves.
Speaker 3 (37:27):
Yeah, and but yeah, but then as soon as Ari
did this back to her the way that they performed it,
it was like, oh, that's a that's that's something special.
That's that's that's going to be a thing. And then
it did. And it wasn't planned for the other scenes.
It just started to happen. And then like we'd be
talking about the train scene and it's like, oh, they
should do, you know, and and then it just yeah,
(37:47):
developed from there and now seeing people do it you
know on TikTok, it's like crazy Instagram and like using
it as like a real little you know, connection between
each other. Is like, that's really gratifying.
Speaker 1 (38:03):
Before we let you go, what is the feeling that
Wicked leaves you with?
Speaker 3 (38:10):
Man, there it is. Now you're going to have me
get all of this. I mean it like, I mean
it's so cliche, but it's like the idea that it
has changed me for good is like so real. Like
it's really like, you know, we've been through so much
(38:32):
to make this and now it's out in the world
and it just feels like, you know, there is like
a greater purpose for doing all this work. And because
it is so it's not just you know, we didn't
just make a movie that's entertained. It's to like really
impact people and to like make people feel seen, you know,
(38:56):
raise some questions that are challenging in certain parts of
the world. You know, it's it's a lot, it's it's
really deep, and I think being a part of that
feeling like this great sense of purpose, you know, it's
like definitely putting me on that path of like this
is the type of work I want to do, and
(39:17):
it should become harder and harder to be like yeah,
I'll do that, I'll do this. Like it's changed me
and I just like I'm nervous, like I don't want
to chase the experience of it all because that's different,
that's its own thing and that's going to live and
y ever. But the idea of doing things that it's
just you know, important to people, and that that yeah.
Speaker 2 (39:42):
Meaningful and that's that is a good feeling to chase.
Speaker 5 (39:46):
I guess to have that perspective to chase things that
are meaningful and intentional and.
Speaker 2 (39:53):
In addition to creatively fulfilling and fun and of course, yeah,
all those things I want because it's poss it's possible.
Speaker 3 (40:02):
We we've we've I've been lucky enough to experience it
now and and through you know, we always comes back
to John Quo.
Speaker 2 (40:13):
It's like everybody comes up, he like brings the hop
because especially now, like everybody's at an age where everybody
knows what they're capable of. We all know what each
other is capable of. You trust those people, you know
they do good work. You know they're good to work
with and like you, it's you can't let this people go.
Speaker 5 (40:33):
Yeah, what a joy to watch you from working with
you and you know those early glee days to seeing
you grow and you know with you without John too,
just your own career, and so you think you can
dance watching your pieces that are have always been so
meaningful to me, and like watching that and watching you
flourish into a place where now you have a path
(40:55):
and a purpose and you know where your next work
is going to be and what it's going to mean
to you is so important, and we're just so happy
for you, and you know, it's just been such an honor.
Speaker 1 (41:07):
To chat with you again and reconnect.
Speaker 3 (41:10):
So thank you me too, you know, real quick before
we got you know fun fact, do you guys know
that I was in the pilot of Glee?
Speaker 1 (41:16):
Did you do one?
Speaker 3 (41:18):
I am in Vocal Adrenaline original number? I don't I.
I was up on the top of the thing. I
partnered U b parts ut miss that because I was
like in the corner, because I was struggling because it
(41:38):
was on these risers, my style.
Speaker 2 (41:40):
But because we were there, like I went and hung
out with the Vocal Adrenaline dancers. It was so long ago,
but like it was.
Speaker 3 (41:48):
So long ago because then we also did the what
was the one in the mall that it was it
safety dance, Safety Dance, I'm safe, So you know it.
Speaker 2 (41:57):
Was always so like that was doing the pilot. We
didn't know what the show was going to be, and
then having so many of my friends like you being
there and vocal adrenaline was so surreal.
Speaker 3 (42:08):
It was just like, it's a huge flex of mine.
I tell you all the time, like I was in
the pilot. Oh g.
Speaker 2 (42:17):
We were all there together.
Speaker 1 (42:20):
We love it. I love it.
Speaker 2 (42:23):
Thanks for doing this. We love you. I'm so proud
of you. It's like, what an incredible ride. And how
many people in the world now get to see and
love your work, Like that's just.
Speaker 1 (42:33):
Millions and millions and millions yea, all over.
Speaker 3 (42:36):
The world, beautiful work for them to see. And it's
important and it's powerful, and I think that's the most
gratifying thing. And I love y'all so much.
Speaker 2 (42:45):
You deserve it all.
Speaker 3 (42:46):
Thank you, Chris, Love you guys.
Speaker 2 (42:48):
See thank you again. That was the one and only
Chris Scott. I love him. I love him so much,
sweet man. Thank you Chris for joining us. Yes, we
love to have him back, like literally known that man
since we ran like a fake club at our friend's
(43:09):
dance studio when we were like sixteen. We had bouncers
and everything, so embarrassing. Thank you, Chris. Go see Wicked
for good. If you haven't already, you probably have, and
that's what you really missed. Thanks for listening, and follow
us on Instagram at and that's what you really miss pod.
Make sure to write us a review and leave us
five stars. See you next time.
Host
Jenna Ushkowitz
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