And tucked away in the middle of all these Tarantino projects is Dirty Dancing: Havana Nights
Back in the early ‘90s, I was tango dancing, and I was just getting good, and we were going to go on tour. But that’s right around when Quentin wrote Pulp Fiction, so I had to choose: Do Pulp Fiction or go on tour. Obviously, I made my choice, but when I came back, I started salsa dancing. Then I started to look at how to do that on film. I had a script about a young girl and the Cuban revolution. I took it to Harvey Weinstein and said, “Look, what if we take all the politics out and put dance in instead?” And they loved the idea.
Flesh and Bone is about the seamier side of the dance world
The image people see is not what lies beneath. On the outside, it’s beautiful and ethereal, but below the surface, there’s darkness. It’s brutal and painful. Watching Flesh and Bone, you’ll see there’s violence, there’s grit. Your toes are bleeding, you can fall, you can get hurt. And then there’s the competition. The creative director, the head of the company, he’s God. There’s so much stress, so much pressure. How does that impact a simple, young dancer who’s never been exposed to that?