Everybody has different propensities, some that we're going to want to encourage and some that we will ask people to shed or notice even.

Now, just tighten up the edge of it a little bit more so it's not like-- you know what I mean?

Boom, boom, boom, boom, boom, boom.

It's soft, but-- better.

This one is perfect now.

Lloyd just has a longer history with the Graham work, and it's maybe deeper in his body.

You do this little retraction where you do this and you linger with it a little bit.

Just to know.

Boom, boom, boom, boom, boom, boom, boom.

And sometimes that will be incredibly helpful for our work, and sometimes it'll make certain things harder.

Better, better, better.

This is something to key into.

I just wish we had more time to work with them in general.

But we only have three hours in a day.

The thing that's going to help us is the acceleration out of the shape.

The speed of the switch into the next bit.

Better, better.

Three hours is not enough time to allow things to emerge.

Here.

Yeah.

Yep.

Boom!

I'm keeping my bodyweight here as opposed to here.

And allowing things to emerge is a big part of a creative process.

Their movement vocabulary is hard.

We certainly were not masters of their steps.

[humming] We really had to learn a lot in a very short period of time to try and adopt their style and their way of moving.

[chattering] [somber music] Oh, my.

Yeah, yeah, yeah.

Yeah.

Went the wrong direction?

Apparently, Richard has an old injury.

His thumb to come out of his joint, so it's kind of bent backwards twice in about a half an hour.

I'm so sorry, Richard.

It's OK.

He left us today, and he's going to tape it up.

Give him two days, and hopefully he'll be back.

So it's an old injury.

Happens.