The former New York City Ballet dancer says that while working with Spielberg on the remake of the classic movie musical, he showed the director how movement is its own language.
That’s when Peck realized he’d hurtled topsy-turvy into a crazy, wondrous universe. He’d also met a major goal: getting the Spielbergian operation to trust in the power of a wordless, poetic art form.
one of his personal heroes. Peck’s job was to reimagine Robbins’s famous dances, fixed in Broadway and movie history as some of the finest theatrical choreography ever.His approach to the Robbins legacy, Peck says, was “not only being reverent of his work, but letting go of having to serve it. And to make my own mark in what I wanted it to be.”You know it feels good to dance. These scientists reveal why.
“I wanted to explore what that was,” he says. “It had a huge influence in getting me to New York. I couldn’t get to New York fast enough.” “It allowed me to let go of the conscious obligation of paying tribute to his work,” he adds, “and just know that it was embedded in me. It’s part of my own fabric.”
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