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?
Does creator Moira Walley-Beckett have the same bravado as someone like Tarantino?
You know, she brings some grit to the work, but she also brings this emotional core. And the cinematic style to the visuals fits right in with the rest of my work. Moira obviously had a very specific take on it, and we’re kindred, in a way. It was funny, because when you say, “The producer from Pulp Fiction and a writer from Breaking Bad teamed up,” people already have these very specific notions of what that will look like. We kind of liked it. She and Quentin are very different, obviously, in their approach and their style of writing, but neither of them are afraid to go there. There are only so many people in this world like Quentin. I’m not sure I want to compare the two, but she’s in it 100 percent. She went places that I would never be able to go that make people uncomfortable. It’s her vision.