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00:00MAGIC
00:05Nous sommes très excités
00:07pour vous présenter
00:10les gens qui ont créé cette film
00:13le producer et le cast
00:15et le directeur
00:16et nous allons commencer
00:21Premièrement, nous voudrions présenter
00:23le producer Michael Graham King
00:31Applaudissements
00:32Applaudissements
00:35Bonjour Graham
00:37Bienvenue à toi aussi
00:40Bienvenue à toi
00:41Dans le milieu
00:43Ok, ensuite
00:45le homme qui l'a pris à l'écran
00:49le directeur, vous pouvez vous présenter
00:51Antoine Foucault
00:53Applaudissements
00:53Applaudissements
00:55Applaudissements
00:59Applaudissements
01:00Applaudissements
01:01Bienvenue à toi
01:03Bienvenue
01:05Et il n'aurait pas de film
01:08sans Michael Jackson
01:10Jaffaire Jackson
01:13Applaudissements
01:15Applaudissements
01:15Applaudissements
01:18Applaudissements
01:20Applaudissements
01:24Applaudissements
01:29Et ensuite, il y avait un jeune Michael Jackson.
01:35S'il vous plaît, pour Giuliano Valdi.
01:48Bonsoir.
01:53Elle est le centre de la famille de Jackson.
01:56Bienvenue à Nia Long.
02:05Bonjour.
02:11Et aussi, une autre très importante figure dans la vie de Michael Jackson
02:15était son chef de sécurité, Bill Bray,
02:19qui est représenté dans le film par le M. Kaelin Daryl-Jones.
02:27S'il vous plaît, donnez-moi un nom.
02:31Merci.
02:32Vous voulez faire ?
02:35Pensez-vous de vous présenter.
02:36C'est bien que vous vous présentez.
02:38Grahame, avez-vous eu l'occasion de déjeter ce qui a été passé à la fête de Michael
02:44à la fête de la fête de la fête de la fête de Michael ?
02:47Vous avez aimé ?
02:48Est-ce que j'ai aimé ?
02:51Je ne sais pas si j'ai aimé ?
02:58Est-ce que j'ai aimé ?
02:59C'est toujours très surreal, après tout ces années,
03:02d'être ici et d'avoir l'occasion de la fête de la fête de la fête,
03:07c'est la fête d'être passé, c'est l'écran de la fête de Michael Jackson.
03:11C'est l'écran de la fête d'être trop.
03:13C'est l'écran de Michael Jackson.
03:14C'est l'écran d'autre.
03:16C'est l'écran d'aujourd'hui.
03:17Je ne sais pas si vous avez eu l'écran d'aujourd'hui.
03:19Après la fête de la fête,
03:21les gens avaient s'acquérés dans la fête,
03:24les gens s'écran aux membres de Michael Jackson,
03:26à l'écran d'appréciation,
03:27c'était très grande.
03:28C'est l'aménage.
03:31Merci, c'est l'accent d'appréciation.
03:35What Michael did so well was bring people together through his music
03:38and our hope was to bring people together through the film
03:41and I think we all need that in the world today.
03:45Talking about bringing people together, this is an amazing movie
03:49and as we've heard from the crew, it's a labour of love
03:54and you brought all these different departments, all these great people together.
03:59Why, and we spoke about that last night,
04:01did you tackle this amazing person, I mean the greatest of all time as your next project?
04:07What intrigued you? What triggered you?
04:10Why did you say, okay, after being in Rhapsody, I'm going to go even bigger,
04:14this is going to be my next movie?
04:17Antoine called me and said, let's do a Michael Jackson movie.
04:21Exact opposite.
04:24You know, knowing Michael since the early 80s and the family,
04:31it felt like a challenge beyond and it was never really in the early days taken that seriously.
04:38Oh, let's think about a Michael Jackson movie, let's see if we can make it work
04:41and every step we took seemed to be positive and moving forward
04:46and the next thing you know, John Logan delivered a phenomenal screenplay
04:50and then, you know, just like Michael, I always take on a spiritual journey with these biopics
04:59and I don't know what's going to be to call this guy one day and say, let's have lunch together
05:06and that's how it all started and then to have the most phenomenal cast and crew
05:11and everyone, we had 415 crew members on set every single day that was doing it for one reason,
05:18for the love of Michael and you felt that.
05:21Thank you.
05:28Shafar.
05:31Hello.
05:40Congratulations, somebody before me said it, you nailed it, you nailed it.
05:52Incredible role that you played.
05:56Is it true that when you found out about the movie that you kept it secret for a year
06:01before you told your folks back home?
06:04Yeah, I did keep it a secret from my family for up to a year, I would say
06:10and the main reason for that is because I really wanted to see for myself
06:15how well I can do in the beginning
06:18and I wanted to make sure that it was something I knew for sure,
06:22that I had it before I spoke too soon, you know, so that was the main point.
06:27And you found out you had it in you.
06:29Yeah, I did.
06:30Many months, many months in.
06:32Wow, wow.
06:35And what did you need to understand first in order to approach Michael, your uncle,
06:42in a way that it felt truthful?
06:45How did you approach this?
06:48For me, it was most important to really understand, you know, what is acting
06:52before even trying to embody Michael and what that was like.
06:57So I had an incredible coach, Angela Gibbs, that Graham set me up with
07:01and we did scenes from many other films, many screenplays from plays as well.
07:08So we did that for about six months
07:10and then we started to do certain scenes from the script that Graham would send us
07:16and everything was recorded so Graham can see my progression as months went on.
07:21Then I started to work with other actors
07:23and it was a long process until we had a screen test, I think was two years in.
07:30And from that screen test, it was a hair and makeup full test
07:33and Dion was there.
07:36And I think that's the clip that Antoine saw when you were in Italy shooting Equalizer.
07:40And then I had a great lunch with Antoine and Graham
07:45and that's when it really all started and I felt that this project was in the right hands.
07:51Mm-hmm.
07:52And you're portraying someone who is the most famous pop star in the world
07:57and whose artistry was very deeply personal to you as family.
08:03How did that connection shape your process once you stepped into the role,
08:09the connection to Michael?
08:11I felt very connected and I realized that because when I first read the script,
08:17there were so many moments I would just cry.
08:19I got really emotional.
08:21And I felt a deep connection with that
08:23and it brought me back to my early memories when I was a kid around four or five years old
08:29just studying his Dangerous Tour specifically in Smooth Criminal.
08:34That was my favorite as a kid, watching those clips just back to back,
08:38trying to mimic the moves.
08:41And so a lot of those memories came back when I was reading the script
08:45and also just that process of going through it for the many months to come.
08:49Mm-hmm.
08:49Wow.
08:50Antoine, what I love about the movie
08:52and probably the audience as well who have seen it
08:56is that it's not only the spectacle of Michael Jackson,
09:00you know, the short films and the concerts,
09:02but it's also those intimate and passionate scenes within the family,
09:06within his brothers, with his mom.
09:09How did you approach those scenes?
09:12I mean, because they're so important and integral
09:14to telling the story of Michael Jackson.
09:17Yeah.
09:18Good question.
09:19You know, for me, it's the material to begin with,
09:25the John Logan with a great script.
09:27And then it's the actors.
09:29They bring so much to it.
09:30They bring so much magic.
09:33It's the only way I can describe it that you can't write.
09:36And so it's the moments in between the words
09:39where you can see the humanity of each character.
09:42So I always look for those moments,
09:45especially when you already got a great script
09:46and great actors who can deliver it.
09:49How did you...
09:50Because we've been talking to Jafar about, you know,
09:53the performances,
09:55but how did you create those intimate scenes?
09:57Because that's something that we never, as a fan,
10:00had the chance to experience.
10:01Did you get them together, for example,
10:04Keelan and Nia and Jafar,
10:06to sort of bond on a different level?
10:09Or did you basically put, out of 415 people,
10:13just five in the room to have, like,
10:15a more passionate and enclosed space
10:17and safe space for the actors and actresses?
10:19Yeah, I mean, we always try to get actors together
10:22and do that sort of thing.
10:23But that doesn't always work.
10:26They have to do it on their own.
10:28It's something that happens, like I said,
10:31you know, me and Graham, we get everything ready
10:33and all the technical stuff.
10:35They're doing their work, you know,
10:37and it's not...
10:38It's their process that makes it so special
10:40that belongs to them.
10:42And so sometimes, the great actors,
10:46you don't see it until you see it.
10:49Right?
10:49You see them talking and laughing,
10:51but then when they're together in the moment
10:54is really when you see the closeness.
10:57But that's a bond that they create.
10:59It's not something that we could create.
11:01That's what actors do.
11:02That's part of their magic.
11:04And it was magical.
11:05I would just like to ask Nia and Keelan,
11:09you know, two so important characters
11:12within the bond of the family,
11:14and especially important, Keelan,
11:15your character for Michael Jackson's career.
11:18How did you research your relationship
11:23to your son in the movie
11:25and your friendship and being the bodyguard,
11:29on the other hand?
11:31I think I asked a million questions.
11:34I was always asking Antoine and Graham questions
11:38about Michael.
11:40I also had the opportunity to meet Michael
11:42very early on in my career,
11:45and I was with John Singleton
11:47walking down a staircase,
11:49and there's something about his essence,
11:52about his spirit, about his presence
11:54that is unforgettable,
11:56and it's also very effortless.
11:58And so I really wanted to make sure
12:02that my depiction of Katherine Jackson
12:07was rooted in love and safety,
12:09because I think the biggest challenge for Michael
12:12was growing up in front of the world.
12:15We all get to do it in private.
12:16We get to make mistakes in private.
12:18We get to love in private.
12:19We get to cry in private
12:21and experience joy in private.
12:24But this was a man who was so young when he started,
12:29and the transition from boyhood to manhood
12:33can be very difficult.
12:34And so I just knew that if I stayed in the space
12:39of being the ultimate nurturer
12:41and creating that safe space,
12:44that the performance would hopefully resonate
12:45with audiences.
12:47and I'm also a boy mom,
12:49so it was kind of easy.
12:51Practice at home.
12:55Yeah, I echo that.
12:56I also asked a lot of questions,
12:58and the more we worked on set,
13:00the more I would meet people
13:02who actually knew the men
13:04and their dynamic.
13:06Also, Jafar and I sort of,
13:08as we got to know each other
13:09and work together more and more
13:10throughout the process,
13:11we sort of built our own sort of rapport,
13:14also would play pranks on each other
13:16and whatnot.
13:17And so, similar to what Antoine was saying,
13:20we would, you sort of have to cultivate
13:24those rapports and dynamics on your own
13:26as part of the work, believe it or not.
13:27It's a fun part of the work,
13:29but it is part of the work.
13:30And fortunately for me,
13:31Jafar made that very easy.
13:32He's one of the sweetest men I've ever met.
13:34You know, he's just a great human.
13:35And as far as building the character of Bill Bray,
13:38early on when I was invited
13:39to be a part of the process,
13:40I asked if there was any footage.
13:42There's tons of pictures of Bill,
13:43but not a lot of footage of Bill.
13:45And they gave me about a 28-second clip
13:48of Bill talking backstage
13:50to the fellas before they went on stage.
13:53And so that helped me with, like, perceived notions
13:55as far as, you know, building the man,
13:58mannerisms, voice, et cetera.
14:00And I just watched it ad nauseum,
14:02asked a lot of questions of the people
14:03that I met along the way,
14:05and trusted Graham and Antoine and Jafar.
14:08It also helps.
14:12I was just going to add that it also helps
14:14when you put on your hair and your makeup
14:15and your wardrobe.
14:16That's so much of the process
14:19because, you know, we come to work
14:21in sweatpants and T-shirts and half asleep,
14:24and then we go into this trailer
14:26where we have amazing artists
14:29who do our hair and our makeup,
14:31and you walk out,
14:32and it gives you the confidence
14:33to really step into the shoes of the character.
14:35I remember seeing your transformation.
14:37I was like, oh, oh, wow.
14:40So it's fun for us to see other people transform.
14:44Like, I remember the very first time
14:45I saw Jafar do his transformation.
14:48I was like, oh, my gosh,
14:49you really look like Michael Jackson.
14:52Yeah, shout out to the hair department.
14:54Yes.
14:54They built my wig out of a beard.
14:59Not your beard.
14:59A sort of half, no, not my beard, thankfully.
15:02A sort of a half wig, you know,
15:04because of hairlines.
15:05And Carla Farmer in the hair department
15:09just made it work
15:10and made me look like Bill.
15:14Wow.
15:15Yeah.
15:18Hair and makeup.
15:20Shout out to Bill Corso.
15:21Yes, he's here today.
15:22Where is he?
15:23Where's Bill?
15:24Where's Bill?
15:25There he is.
15:25Stand up, Bill.
15:27Yeah.
15:28Yeah.
15:32Now, Michael, once was also a kid.
15:37And in the movie, it is the role of Giuliano Baldi.
15:43And you nailed it.
15:46Yeah.
15:47Thank you.
15:48Hello.
15:49Okay, there.
15:51Absolutely fantastic.
15:52What you pulled off in this movie, really.
15:55Thank you.
15:56Heads off.
15:56Heads off.
15:57How did you prepare for that role?
16:00I mean, did Michael Jackson and his work mean something to you?
16:05Yeah, I mean, he's always had a big, big inspiration in my life.
16:10And I prepared by watching a lot of his interviews
16:13and just trying to practice his mannerisms,
16:16the way he moves, the way he talks,
16:18and the way he moves his body.
16:20And I'm really glad that I had my mom and my aunt
16:25and, you know, just my entire family supporting me
16:27through this movie.
16:28And I'm really glad that Antoine Fuqua and Graham
16:32trusted me with this gigantic responsibility.
16:37No, we love Giuliano.
16:44He's the best, best kid ever.
16:46So much energy.
16:47When all of us were tired, he was still going.
16:49You know, they keep your feet still.
16:52Yeah, that's him, really.
16:55He's the best.
16:56We love you, kid.
16:57Thank you.
17:06The performance sequences in the film
17:08are physically very demanding, very extraordinary.
17:13What was the hardest thing for you to learn?
17:17The dancing.
17:18And specifically the James Brown splits.
17:24When I was practicing,
17:26when I was rehearsing it with Michael Jackson's
17:28choreographers, Rich in Tone,
17:30I had to...
17:32I wasn't flexible at the time,
17:33so every morning I would stretch my hamstring.
17:37It still hurts, you know.
17:38Wow.
17:39Wow.
17:40Was it worth it, though?
17:42Yes, it was very worth it.
17:44Right.
17:45Graham and Antoine...
17:46I just want to say one thing.
17:48I can't stress enough about...
17:50These guys have never acted before.
17:51Yeah.
17:52I mean, come on.
17:53It's insane.
17:55It's insane.
17:59And it feels like they've done it all their lives.
18:02It's amazing.
18:03I mean, the work that you two put...
18:06All of you put into this movie is just mind-blowing.
18:09And the great thing is,
18:10if you had the chance to talk to some of the fans
18:12and some of the guests at the premiere yesterday,
18:14there were lots of people who've never seen Michael Jackson live.
18:19I had the pleasure to see him live,
18:20but some of them haven't.
18:22But they still fell in love with the music.
18:23You know, looking at the performances
18:26and, you know, especially the Wendy Stadium scene,
18:29how did you go about, you know,
18:31from a producer's standpoint of view
18:33and from a director's standpoint of view
18:35to create something that would, you know,
18:38engage the people who had the chance to experience what he did
18:42and the people who've just listened to the records
18:45get into that move and vibe of the performances
18:48because that is something, I think,
18:50that unites everyone here today and all around the world.
18:55I mean, first, I'd had the experience of doing that
18:58with Bohemian Rhapsody and Live Aid
18:59and really learning about what the audience enjoys
19:02in those performances.
19:03You've got to put the audience in with the audience
19:06and seeing the emotion of their reaction.
19:09The hardest thing with Michael is
19:10it was hard to cut out of his performances
19:13because you don't want to miss a move that Michael would do.
19:16So in the edit room, finding those moments
19:18where we can cut out and go to the crowd
19:20because that's what will give our audience the emotion
19:24was really tough to do.
19:25Yeah, really tough to do.
19:26A lot of credit, I've got to tell you,
19:28to Richard Tone, the choreographers.
19:31They really are amazing.
19:33Really amazing.
19:35Because you can't, you've got to remember,
19:37Jafar had to learn Michael Jackson moves
19:40and make it look natural.
19:42All of those small nuances, all those little details,
19:45that only Michael Jackson could do, he had to learn.
19:48And then Giuliano had to learn all the dancing
19:50before his era, that he had no idea what to do.
19:54And then for me, coming out of music videos,
19:58I understood the language of music videos.
20:01But as Graham said, with Michael, it's different.
20:05I mean, to Jafar's credit, we shot bad the very first day.
20:11One of the hardest performances you could do.
20:13The first day, he's never been on a film set before acting.
20:16The first day, he did bad.
20:18You know how many times we shot that?
20:20His feet were bleeding.
20:23He couldn't feel his toes half the time.
20:25Right?
20:26That's the level of discipline.
20:28So when you get to the editing bay,
20:30you had to have enough material to make sure
20:32you could put something together exciting,
20:33as if you were at a concert.
20:35Right?
20:35And that's what me and Graham would talk a lot about.
20:37But then, it's Michael.
20:39So you got all these angles, and you go,
20:41this is a great angle.
20:42I love this angle.
20:43As a director, they were like,
20:44can't use it because you missed Michael's little move,
20:47little way he moves his hips or anything like that.
20:49The camera has to go wide again.
20:51Right?
20:52So it's a learning process with Michael.
20:55You have to get it all, though.
20:56You can't miss it.
20:57We shot that so much.
21:00Jafar is like an athlete to do that.
21:03Over and over.
21:04Michael did it in a concert every night.
21:06He had to do it 20, 30-some times a day.
21:10The whole song.
21:12Every day.
21:14That's a Hercules task.
21:17Yeah.
21:18That's a Hercules task.
21:19And remember, he's still acting.
21:22He's still acting, and he's singing.
21:25That's a lot of work.
21:26Can I just add one quick thing?
21:28Because there's this little sweet scene
21:31between you and Graham in the featurette
21:33where you hug each other.
21:34And I think that was like the first day of shooting
21:38after Jafar's performance.
21:40Can you just tell us what went through your mind
21:43in that moment when you were sort of looking at each other,
21:45smiling, hugging, and then sort of going separate ways again?
21:50Well, for me, it's being on that long journey of development and prep
21:57and all the hurdles we have to cross
22:00and then getting to that first day of shooting
22:02and seeing Jafar just show up almost just so naturally.
22:07It was too good to be true.
22:10Right?
22:11We kept talking about like...
22:13We just couldn't believe what we were seeing.
22:15And he just walking off...
22:17I remember you walking up the stairs the first day onto that stage,
22:20and both of you were there,
22:21and both of you, they were kind of warming up
22:23to James Brown together.
22:25And that's what started for me the emotion.
22:27And then we kicked off the first take of Bad,
22:30and it was like...
22:31Because you never quite know until you're in it.
22:34And it was, oh, my God, incredible.
22:36And it was very emotional.
22:37I mean, the reason we hugged each other
22:39because screen test, him doing his own homework,
22:44staying at Havenhurst.
22:46I mean, I walked into a room one day
22:48where Jafar was studying.
22:49It was like a beautiful mind.
22:52He did his homework.
22:53These are years of work.
22:55But even with all that work,
22:57you don't know if someone's going to freeze on a day
22:59when you've got 1,000 extras,
23:01you've got 500 crew,
23:03he's in costume.
23:05On day one, he has to walk out
23:07and do that entire bad performance
23:10with about 12 cameras.
23:12And he's never done it before.
23:14Soon as he'd started and we were watching it,
23:17I just couldn't believe it,
23:18and that's when I turned and hugged Graham.
23:20Because Graham found Jafar.
23:22And I was like, you're fucking right.
23:23This guy's special.
23:25Thank you.
23:36I'm a very proud mom.
23:39And rightly so.
23:43Please welcome to the stage,
23:46beginning with rich and toned Talauega,
23:50head of choreography.
23:57Good morning.
23:58Good morning.
24:00Good morning.
24:01Good to see you.
24:03Yeah.
24:03Hi.
24:04Next up, please give it up
24:07for Carla Farmer,
24:08head of the hair department.
24:16Hi, Carla.
24:19Good morning.
24:20Please take a seat.
24:22Wherever you want.
24:23Hi.
24:24Close to rich and toned.
24:27And next up,
24:29also very important role in the movie,
24:33Bill Corso,
24:34makeup design.
24:36Give it up.
24:45Good morning, Bill.
24:46Hi.
24:48And last but not least,
24:50please welcome
24:51Marcy Rogers,
24:53costume design.
24:59Good morning.
25:01Hi.
25:04Welcome.
25:05This is quite an audience.
25:07A couple of people are sitting here.
25:09First of all,
25:11what we would like to know is,
25:12did you enjoy yourself last night
25:14and what did you think
25:15of all the people
25:16celebrating Michael Marcy?
25:20Over the moon.
25:21Oh.
25:22Exciting.
25:23Amazing.
25:25Like, oh my God.
25:28I agree.
25:30It's funny.
25:30I was actually going to say that.
25:32but I think it's a blessing
25:35to see everyone celebrating
25:36his legacy
25:37and the excitement
25:38that's starting to brew
25:40and just to be here
25:41with the cast and crew
25:42and just have this moment in time.
25:44I think we all need it.
25:46Ben and Carla.
25:48I agree.
25:49And I just love the Germans.
25:52It's been great.
25:54And I love the way
25:55they love Michael.
25:57Oh.
25:59And I second that,
26:01everybody's comment.
26:02And I just want to say,
26:05finally, we are here
26:06to open this gift up
26:08to the rest of the world.
26:09So I am very happy
26:11to share this beautiful film
26:13with everybody.
26:14Finally, we made it.
26:19You know, it's been
26:20a long road for us.
26:21I mean, we, like you all,
26:23we are fans.
26:24We're huge fans.
26:26You know, we were kids
26:27when Michael was at his zenith
26:29and I was obsessed
26:31with everything Michael,
26:32as we all were.
26:33So for us to be able
26:35to bring our talents
26:36to this movie,
26:38which was, you know,
26:39talk about a dream job
26:40bucket list
26:41that I didn't even know
26:42you could have.
26:43You know, this movie
26:44was such a gift
26:45for all of us.
26:46And to be there
26:47from the very beginning
26:48and to be here last night
26:50and today with you guys
26:51to celebrate
26:52all the work
26:53that everybody put into it
26:55is such a thrill for us.
26:57It's a thriller, really.
26:59No pun intended.
27:01So thank you guys
27:01for all coming
27:02and thank you for loving the film.
27:08And we're here today
27:10to also celebrate your work
27:12in the movie,
27:13your excellent work.
27:15And we'd like to start
27:16with the choreography.
27:18And we got here
27:18rich in tone Talauega.
27:21And you guys
27:22were once discovered
27:24by Travis Payne,
27:26choreographer for Michael Jackson,
27:28and you were on the history tour.
27:31You were on stage
27:32in the history tour.
27:33So what perfect match
27:35for you to have
27:35be back in this movie.
27:41What was your reaction
27:43when you heard
27:43this film was being made
27:45and you shall be a part of it?
27:47What was your reaction?
27:51Excited.
27:52Living the dream.
27:53The dream has finally come true.
27:55and to actually be on it,
27:57you know,
27:57being pitched to the movie
27:59by Graham King,
28:00it was surreal.
28:01Didn't really understand
28:02what was going on.
28:03All I know is that
28:05all I heard was Michael
28:07and biopic and movie.
28:08That's all I heard.
28:11But it's beautiful
28:12because it's like
28:13a full circle moment, right?
28:15Germany is one of the biggest
28:16markets for Michael.
28:18We spent about,
28:19we spent a good three,
28:20four months out here on tour.
28:22And it's surreal
28:24to come back to Berlin
28:25and open this movie
28:27internationally.
28:28That right there,
28:29I think,
28:30is the moment
28:30I was looking forward to.
28:32And I was just so blessed
28:33to be here.
28:34Mm-hmm.
28:37Yeah.
28:41I mean,
28:42when I first heard
28:43about this biopic being made,
28:45the first thing I thought,
28:46I was like,
28:48elated,
28:49first off.
28:50but also I had a question
28:52that I was looking at
28:54and my brother was like,
28:54so who is going to play
28:56the King of Pop?
28:58Because to me,
28:59I mean,
28:59that was the million dollar question
29:02to be answered.
29:02And,
29:04you know,
29:04when I heard the name
29:06Jafar Jackson,
29:07you know,
29:07obviously we did
29:08a deep dive on him
29:09and then I was like,
29:10okay,
29:12he checks the boxes
29:13on terms of like
29:14certain things for us
29:15in terms of,
29:16number one thing
29:16was rhythm.
29:17and I would say
29:19that got us
29:21really,
29:21really excited
29:22to even go deeper
29:23on the film
29:24and we were,
29:25then,
29:26again,
29:26my brother and I
29:28also doing the research,
29:31we just thought
29:32that this is a time
29:34for the fans
29:36to finally get
29:36a story
29:38about the greatest
29:39of all time.
29:40Whoa.
29:43Amen.
29:45Yeah.
29:45and you have worked
29:48with Michael,
29:49of course,
29:50for many years
29:51and you had now
29:52Giuliano and Jafar
29:54who are doing
29:55a fantastic job
29:57on this movie,
29:58Young Michael
29:59and Older Michael,
30:01fantastic.
30:02So,
30:03your experience
30:04helped you
30:05to transform
30:06the dancing
30:07into Jafar
30:08and Giuliano,
30:09I guess.
30:10Yes.
30:10Oh, yeah,
30:11most definitely.
30:12Just starting off,
30:14we were really young
30:16working for Michael Jackson.
30:17My brother was 15,
30:18I was 17.
30:20Tony had to get
30:21a GED
30:22to make sure
30:23he could work
30:24as an adult.
30:26But,
30:26just years and years
30:27of experience
30:28being able to,
30:29you know,
30:30we all grew up
30:30with him,
30:31like what Bill
30:31said earlier.
30:33We were all kids,
30:34we all grew up
30:35to Michael,
30:35his energy,
30:36his dance,
30:37his song,
30:38his style,
30:39his fashion.
30:41And,
30:42it's surreal
30:43that we're all
30:43on stage together
30:44and we're able
30:45to share this,
30:47our way
30:48of understanding
30:49what Michael is
30:50and to be able
30:51to do that.
30:52And,
30:52taking that energy
30:55into the long hours
30:56of training
30:57with Giuliano
30:59and Jafar,
31:00I mean,
31:00you know,
31:00I think the number
31:01one thing I would say
31:02is,
31:02for us is,
31:04what we shared
31:05with them was this.
31:06yes,
31:07we're going to do
31:07the work
31:07six to eight hours
31:08a day.
31:09But,
31:09the real work
31:10was when you
31:11left the studio.
31:13You know,
31:13like the,
31:14how obsessive
31:15and possessive
31:16you can be
31:17with learning
31:17about this man,
31:19how he glided,
31:21how he walked,
31:22how he dressed,
31:24how he talked,
31:25and to understand
31:27the influences
31:27that influenced him.
31:28From James Brown
31:30to Jackie Wilson
31:30to Sammy Davis
31:32to Fred Astaire
31:33to Charlie Chaplin,
31:34like,
31:34so on and so forth
31:35and just to take
31:36that all in,
31:37how can we make
31:38that something?
31:39Look,
31:40what we did
31:41will probably take
31:42a generation
31:43to learn,
31:44but the team
31:46that you see
31:46on this stage,
31:47we all came together,
31:48we united,
31:49and we gave
31:51that sort of energy
31:52to the cast,
31:54primarily Giuliano
31:55and Jafar,
31:56and it all came together
31:57quite well.
31:58Quite well.
31:59Very well.
32:01And Marci,
32:02because we're talking
32:04about fashion and style,
32:05you are the head
32:07of the costume department
32:08and you did
32:08an amazing job
32:09and we just heard
32:10that it was very important
32:12to get Jafar
32:13and Giuliano moving.
32:15But movement
32:16within a costume
32:17is quite difficult,
32:19I suppose.
32:20So how did you go
32:21about approaching
32:21the design
32:23to stay movable
32:25and on the other hand
32:27being accurate
32:27to what we know
32:29of Michael Jackson's style?
32:31Well, I think
32:32one of the approaches
32:33I took was
32:34to make sure
32:34that, one,
32:35it replicated
32:36what the fans
32:37and what everyone
32:38had seen.
32:39But there were times
32:40where I would have
32:41conversations with Rich
32:42and Tone
32:43and, I mean,
32:44admittedly,
32:44you would have to
32:46kind of figure out
32:49where this ripped,
32:50where that ripped,
32:50and we would just
32:52come up,
32:53I would come up
32:53with ways
32:54where I could hide
32:55certain areas
32:56where Jafar was able
32:57to actually do the kick,
32:59you know,
32:59and so his pants
33:00wouldn't split.
33:01And I think that,
33:02honestly,
33:03transparently
33:04was a collaborative effort
33:06because they were with him.
33:07And I also know
33:10that I provided
33:10rehearsal clothing.
33:12So Jafar was really
33:14in pretty much
33:16a version of his costume
33:17all day.
33:19And I think for him
33:21that was important
33:22because he was
33:23embodying Michael
33:24but he also had
33:25that second layer
33:26of skin for me
33:27which is clothing
33:27and his shoes
33:29and we workshopped
33:31the shoes
33:31and he was a great asset
33:35to my process
33:36because I read
33:37the research
33:38but having to have him
33:40put the clothes on
33:40was something
33:40completely different.
33:42And you did a great job.
33:43And Carla,
33:44I mean,
33:44let's talk about
33:45the hair
33:46because that's
33:46an integral part as well.
33:48If you look at
33:49the different hair styles
33:50throughout his career
33:51and the movement,
33:53I mean,
33:53this is something
33:53that people,
33:55fans have paid
33:56attention to
33:57does it fit,
33:58does it work?
33:59How did you go about
34:00creating that look
34:02and that the hair style
34:04stayed the way it was
34:05especially during
34:06the performances?
34:07Well,
34:08there were different elements
34:10of the approach.
34:13I used his hair
34:15in all the wigs.
34:16His hair was exposed
34:18in some sort of way.
34:19There were scenes
34:21where we used
34:21Jafar's hair
34:23and there were scenes
34:25where we used
34:25a wig
34:27and there were scenes
34:28where we used
34:29both his hair
34:30and wigs.
34:30So I think that's why
34:32it reads
34:33the way it does
34:34because it was
34:36not just a wig
34:38put on his head.
34:39You know what I'm saying?
34:40So I think that really...
34:42What I would like to know
34:44is because Bill and I
34:45just had a talk
34:46about a backstage.
34:48Did you get the chance
34:49yesterday
34:50to objectively
34:53enjoy the movie,
34:54Bill,
34:55or have you been
34:55paying attention
34:56to all the details
34:57that you could have done
34:59differently
35:01or better in a way
35:02because you've been saying,
35:03you know,
35:04we worked so hard
35:04on this movie
35:05and now I can see it
35:06on the big screen
35:07and I could have done
35:08this one.
35:10So,
35:12if anybody saw me
35:13last night,
35:14I was the one
35:14like this.
35:18You know,
35:20Jafar and I
35:20had long talks
35:21about this
35:21and I was with Jafar.
35:25Jafar would leave them
35:26and there were times
35:27where Jafar
35:28would just be at the house
35:29at Havenhurst
35:29by himself
35:30dancing
35:31all day long
35:32and so I would go
35:33to the house
35:34with Jafar
35:34and do make-ups
35:35on him
35:36just to see
35:36how they would hold up
35:37and during those times
35:39we spent a lot
35:39of time together.
35:40This is a year
35:41before we started
35:41shooting the movie
35:43and we talked
35:44about a lot of things
35:45about Michael
35:45and about
35:47how he was
35:48and one of the things
35:49was Jafar
35:50working so hard
35:53to prove it
35:54to the family
35:54and to himself
35:55that he could do it
35:56and he had
35:57every Michael
35:59affirmation
36:01postered onto
36:01a wall
36:02in a room
36:03and so I took that
36:04and decided
36:06to do that
36:06with my work.
36:07I had all of
36:08Michael's affirmations
36:09and one of which
36:10stared at me
36:11every day
36:11on the mirror
36:12was doing good
36:13is not good enough.
36:14Every day
36:15it's got to be better
36:16and strive for perfection.
36:19So I watch it
36:21last night
36:21and there's not
36:22a single look
36:24that I wouldn't
36:24want to go in
36:25and tweak
36:27and make better.
36:29There's some shots
36:29in the movie
36:30we had to redo
36:31and I was always
36:31so excited about that
36:32because it gave me
36:33a chance to tweak it
36:34a little bit more.
36:35It was never
36:36good enough for me
36:37and as a fan
36:39I wanted it to be
36:39so good for you guys
36:41but that was Michael.
36:43Michael was with us
36:44through the whole production.
36:45Every department
36:46right up to
36:47Graham and Jafar
36:49speaking to us
36:50and it's got to be
36:52the best.
36:52It's got to be great.
36:53It's got to be
36:54the greatest ever
36:54and so I looked at that
36:57and I always had him
36:58in my head going
36:59what can I do
37:00to make it better?
37:01So that was my mantra
37:02going through.
37:03It's like trying to
37:04what can I do
37:06to elevate it
37:07and do Michael justice.
37:10Amen.
37:11Yeah.
37:18Bill, you have a real history
37:20with Michael Jackson.
37:22Thriller being the first
37:23paid job
37:24to recreate the look
37:26in a high school production.
37:28Is that right?
37:29Yeah.
37:29So I was 15
37:32when Thriller came out
37:33and I was,
37:35you know,
37:36my dream was
37:37to be a makeup artist
37:38in the movies.
37:39That was my passion,
37:41my goal.
37:41Everything I did
37:42was makeup oriented
37:44and so you have
37:46to understand
37:46for a 15-year-old kid
37:48who was obsessed
37:49with movie makeup
37:50for Thriller to come out
37:52and if you were alive
37:54at that point,
37:55Thriller didn't just
37:56come out on MTV.
37:58The making of Thriller
37:59came out on MTV
38:01which was a half-hour movie
38:03of the making of Thriller
38:05and then at the end
38:06of that video
38:07was the video,
38:08was the mini movie
38:09of Thriller.
38:10But what I saw
38:12as a young budding
38:13makeup artist
38:14was, you know,
38:15seven-time Oscar winner
38:17Rick Baker
38:17doing Michael's makeup,
38:19taking his life cast
38:20and turning him
38:21into a werewolf
38:22and turning him
38:23into a zombie
38:24and doing all the zombies
38:25and turning himself
38:26into a zombie.
38:27And I was just,
38:29I and my entire generation
38:31of makeup artists
38:32were glued and stunned.
38:34It was a life-changing
38:35moment for me.
38:37And so to be able to,
38:39so I did my friend's
38:40high school production
38:41of Thriller
38:42and turned him
38:43into Michael
38:44and all the friends
38:45into zombies
38:46and they paid me
38:47$20 for makeup
38:48and that my first paying job.
38:51And so for me
38:52to do this movie
38:54and to recreate Thriller
38:56was,
38:58it was a culmination
38:59of an entire lifetime.
39:01And you talk about
39:02full circle,
39:02there is no greater
39:03full circle
39:03than what we did
39:05on this movie.
39:05That's right.
39:08Marcy,
39:09let's stick to the topic
39:11of the short film Thriller.
39:12I mean,
39:12there are a couple
39:13of iconic,
39:14you know,
39:15costumes
39:15that we need
39:16to talk about.
39:16I think leather jackets
39:18are very important
39:18and gloves.
39:19Yes.
39:20How did you go
39:21about researching,
39:23you know,
39:23those iconic designs
39:26and especially
39:27in recreating them?
39:29Well,
39:30I pride myself
39:31on saying
39:31that my research book
39:32was over 800 pages.
39:35And so one of the things
39:36that I did was
39:37I took a trip
39:39to downtown L.A.
39:40where I literally,
39:43like a student,
39:44pulled out
39:44my measuring tape
39:45and measured
39:46each and every aspect
39:48of the Thriller jacket
39:49to the point
39:50where color
39:53was important.
39:53To get the color
39:55correct
39:55and to replicate
39:57that was something
39:58that I definitely
39:59wanted to execute.
40:01As far as the glove
40:04is concerned,
40:05you know,
40:06I have books
40:07upon books
40:08upon books,
40:09Jet Magazine,
40:11any magazine
40:11that Michael
40:13appeared in
40:13and I literally
40:14would study
40:15the gloves.
40:16I would study
40:17the Motown glove.
40:18I would study
40:19the Victory Tour glove.
40:20I would even study
40:21everything that went
40:22with it.
40:23The glove,
40:23I think,
40:24was the icing
40:24on the cake,
40:25right?
40:25But like,
40:26his aesthetic
40:29and it was
40:30a journey,
40:31you know,
40:31and like Bill
40:32would be times
40:33where I would
40:34zone in so
40:37closely
40:38that I had
40:38sometimes
40:39to pull out
40:40just to make
40:40sure that it
40:41was correct
40:42but it was
40:44an interesting
40:44journey with
40:45Thriller
40:45because one
40:46of the things
40:47that I learned
40:47at the time
40:49in the design,
40:51the jeans
40:52that he wore
40:53were created.
40:55so that was
40:56interesting
40:56as being
40:57a student
40:57of my craft
40:58because then
40:59I had to
40:59recreate that
41:00red,
41:01right?
41:02And so
41:02it had to be
41:03exact.
41:04Crazy,
41:04but you did
41:05a wonderful job.
41:06Amazing what
41:06you created
41:08on the screen.
41:09The movie also
41:10has a drama
41:12in it.
41:12There was the
41:13Pepsi incident
41:15back in 1984
41:16which changed
41:18Michael's appearance
41:19dramatically.
41:20It was a turning
41:21point.
41:22How did you handle
41:23the moment in the
41:23film and what
41:25did it mean to you
41:26to get it right,
41:27this transformation?
41:29Yes, Carla.
41:31Can we do that
41:31together?
41:32Yes, sure.
41:33Well, only
41:33because we
41:34had with us,
41:35we all went
41:37out of our way
41:37to try to
41:38include people
41:39that knew
41:40Michael,
41:40that worked
41:41with Michael
41:41to maintain
41:43a sense of
41:43accuracy.
41:44And in the
41:45case of the
41:46Pepsi incident,
41:48we had many
41:49members of our
41:49crew that
41:50actually were
41:50there that day.
41:52A very good
41:52friend of mine
41:53was the still
41:53photographer that
41:54day and he
41:55took the
41:55pictures of
41:55Michael.
41:56One of my
41:57makeup artists
41:58was there that
41:59day doing
42:00the brother's
42:01makeup.
42:02I think our
42:02script supervisor
42:03was there that
42:04day.
42:05Her boyfriend
42:05was one of
42:06the lighting
42:06technicians,
42:07I think.
42:07So there were
42:08a lot of
42:08people who had
42:09a very sensed
42:10memory of that
42:10day.
42:11And no one
42:12really knows
42:13that day very
42:14well.
42:14They know the
42:15horror of it.
42:16We all live
42:16through it.
42:17But what
42:18physically happened
42:19to him was so
42:20intense.
42:21And to show a
42:22glimpse of that,
42:23we got a hold
42:24of real photos of
42:25what his head
42:26looked like,
42:27what the injury
42:27was, and tried
42:29to replicate that
42:29and be true to
42:30it.
42:30Because it was
42:30very important
42:31to us.
42:32It's such a
42:33turning point in
42:33his life that
42:34we be accurate
42:35to that.
42:36It changed
42:37everything for
42:37Michael.
42:38And a Jehovah's
42:40Witness who
42:40never took a
42:41drug in his
42:41life, not even
42:42aspirin, and
42:43to have to go on
42:44medication and
42:45everything, which
42:45altered the course
42:46of his life.
42:47So that was a
42:48very crucial
42:49sequence for us.
42:50And so Carl
42:50and I, and my
42:52prosthetic designer,
42:53Christian Tinsley,
42:54who we couldn't
42:55do this movie
42:56without, Christian
42:57and I worked
42:58very hard to
42:59to come up
42:59with a, you
43:01know, a mock
43:02bald, burnt
43:03section of
43:04hair that we
43:06actually burnt
43:06and singed and
43:07to recreate what
43:08happened to
43:09Michael.
43:09And then Carla's
43:10genius of how to
43:11make it work on
43:13Jafar.
43:13Yeah, that was, it
43:15was a difficult
43:16scene, especially
43:17for my assistant.
43:19She was there
43:21as well.
43:22And she was a
43:24young girl.
43:25And it was
43:26really hard for
43:27her.
43:28But what I
43:30gleaned from that
43:31situation and
43:32research, I found
43:34out to the day
43:36it was half of
43:38Michael's life that
43:39happened that day.
43:40and I thought
43:42it was so
43:43interesting that
43:44as you saw in
43:45the film, he
43:47went off his
43:48course and
43:50that situation
43:53occurred.
43:54And I think
43:55that is a
43:56lesson within
43:57itself when
43:59you are on
44:01your path and
44:03you have
44:05pressures of
44:07your family or
44:08outside forces, I
44:11think Michael is
44:12trying to tell us
44:13something in that
44:14story.
44:19It's very
44:19emotional to us,
44:20you guys.
44:21You can tell.
44:24Everything we did
44:25in this movie was
44:26like that.
44:27I mean, there's
44:29not a moment that
44:29we created in this
44:30film that had a
44:32very strong
44:33emotional impact to
44:34all of us.
44:35You know, I mean,
44:35what Graham King
44:36did, you have to
44:37understand, is
44:38hired, he didn't
44:40hire a crew of
44:41people to work on
44:42a movie.
44:43He hired artists
44:45who were obsessed
44:47and passionate about
44:48Michael Jackson.
44:49So every single
44:50one of us has a
44:51connection or an
44:52affinity to Michael
44:53that was well
44:55above the norm.
44:56And that's why he
44:58wanted to assemble
44:58a team of people
45:00that would do
45:01Michael's legacy
45:02justice.
45:03And so for every
45:04single one of us
45:05and every person
45:06we hired, it was
45:07important that we
45:08didn't just hire a
45:09makeup artist, a
45:10hairstylist, a
45:11customer, but
45:12somebody who loved
45:13Michael and would do
45:14Michael and his
45:16legacy right.
45:17And so that's what
45:18you see on the
45:19screen is all of
45:20that love.
45:21It's what you feel.
45:23No, that's right.
45:24I just want to just
45:25double that to a
45:26degree is that this
45:28wasn't a gig.
45:29This wasn't a job.
45:30This was a labor of
45:31love for all of us
45:32working on that film.
45:33what we brought to
45:35that film was
45:36respect and honor
45:38for the greatest of
45:40all time.
45:41And it felt really
45:42good every day to
45:44go to rehearsal, to
45:45go on set, to have
45:47the arguments, to
45:48have the debates, and
45:50to hug and to see
45:51each other face to
45:53face, eye to eye, and
45:54to know that we were
45:55on the same team for
45:57the King of Pop.
45:57That's what it felt
45:58like.
45:58Big time.
45:59Rich and Tone, let's
46:02talk about the labor
46:03of love, recreating
46:04some of his signature
46:05moves, because there's
46:06so many out there.
46:08There is.
46:09And how did you go
46:10about picking the
46:12ones that were really
46:14Michael Jackson's
46:15signature moves, and
46:17especially how did you
46:18implement them in the
46:19training for Giuliano
46:21and Jafar?
46:22Because we spoke about
46:23it yesterday.
46:24One thing is
46:26impersonating
46:27making someone.
46:27The other thing is
46:28acting like that
46:30person, but having
46:31your own sort of
46:33vibe moving into
46:35it so it looks
46:36authentic and
46:37natural.
46:37How did you go
46:38about that?
46:39And which one was
46:39the hardest to
46:41recreate?
46:42Most difficult one?
46:43I would say
46:45Billie Jean was the
46:47test for not only
46:49our department, but
46:50for Jafar, because
46:51that was the first
46:52number that we
46:53approached for the
46:55movie.
46:55And the reason
46:57why we chose
47:00Billie Jean is
47:01because you have
47:04nothing to hide
47:05behind.
47:05You have the
47:07audience, the
47:08mic, Michael, and
47:11the band.
47:12No dancers, no
47:14lighting, just him.
47:16One single person.
47:17And we thought to
47:18ourselves, if he
47:20could pull this off,
47:21he could do any
47:22number.
47:23And we told
47:24Graham King, that
47:25if you just give
47:26us a month, just
47:27with this one
47:28number, just to
47:29go into the
47:29details and the
47:30nuances, because
47:31when you look at
47:32that number, it's
47:33there's only, there's
47:34two dance breaks.
47:35That's how we see
47:36it.
47:36There's one in the
47:37beginning, right,
47:38with the hat, but
47:40there's also the
47:42iconic dance break
47:43with the moonwalk.
47:45So it has all
47:47these different
47:47levels of style,
47:51technique, method,
47:52in terms of how to
47:53move, while you're
47:54singing.
47:55And so we
47:57spent a whole
47:58entire month.
47:59The first week, I
48:00would say, was the
48:01roughest, is
48:02because, mind
48:04you, Jafar, you
48:06know, he has
48:07rhythm, but this
48:07was the first ever
48:08time he attacked
48:10dance on this
48:11level, movement on
48:12this level.
48:13And we all know
48:14the King of Pops
48:15vocabulary and
48:16syllabus of
48:17movement is not
48:18an easy thing to
48:19do.
48:19It looks very
48:21simple, but it's
48:23very complex on so
48:24many different
48:24levels.
48:26But I think the
48:27first week was
48:28about just sitting
48:30down and watching
48:31and doing homework,
48:34research.
48:36We analyzed that
48:38Motown 25 from so
48:40many different
48:40perspectives.
48:41And also, you
48:43know, this is
48:43something that's
48:44very important in
48:45terms of movement,
48:45right, and not
48:47to be an
48:47impersonator,
48:48right, is to
48:50live it, is
48:51coming from the
48:52point of view of
48:53watching, knowing
48:55how to use your
48:56eyes and study
48:57with your eyes.
48:59Because that's how
49:00Michael learned how
49:01to do James Brown,
49:03Jackie Wilson, is
49:04he learned in his
49:05living room, watching
49:06a television.
49:08He didn't go to
49:08no studio.
49:10They didn't exist
49:11back in those days
49:12where you had to go
49:13take a class, right?
49:14So he came from
49:15that era.
49:16So we wanted to
49:17take Jafar through
49:19that same journey
49:21of watching video
49:23and then pausing
49:24after 30 seconds
49:25and then we would
49:26just have a
49:27conversation about
49:28so tell me,
49:29what do you see?
49:31Because we,
49:32because, you know,
49:32movement, it's a
49:33movement, it's a
49:34language, right?
49:36But I wanted to
49:37hear, me and my
49:37brother wanted to
49:38hear him vocalize
49:40what he's seeing
49:41before we jump
49:42into a mirror and
49:43go through the
49:44steps.
49:45So we thought
49:46that that was a
49:47really, really
49:47critical ingredient
49:48in terms of his
49:49process of learning.
49:51Not just Billie Jean,
49:52but all the
49:53iconic numbers
49:54like Thriller
49:55and so on and so
49:56forth.
49:57But to,
49:59because I know
49:59my brother wants
50:00to add a couple
50:00things to that,
50:01but it's the
50:04art of
50:07learning with
50:08your eyes,
50:09knowing what
50:10you're studying
50:11and knowing how
50:12to describe it
50:13and then getting
50:15up and us
50:16teaching the
50:16technique and
50:17method on how
50:18to accomplish
50:18the goal of
50:20learning it
50:22the real way.
50:24That's right.
50:25That's right.
50:25And just to add
50:27on to what
50:27Tone is saying
50:28is we had to
50:30break down
50:31Michael's style.
50:32we had to give
50:33it terminology.
50:35And there's
50:36this base
50:37foundation of
50:38movement that
50:38Michael has
50:39and it starts
50:39with his core,
50:40his hips,
50:40his feet,
50:42his fingers.
50:43We call it
50:44time keepers.
50:45That's what we
50:45call it because
50:46Michael is keeping
50:47time with the
50:47music.
50:48It is a magic
50:49trick that he
50:49does.
50:50He's a magician.
50:51He's amazing.
50:52Okay?
50:52So that's one
50:53thing right there.
50:54And to just
50:55parlay over to
50:56Giuliano,
50:58oh my God,
50:59you know,
50:59like I can't,
51:00one of the
51:00hardest things to
51:01do is to
51:02work with
51:02kids.
51:05You know,
51:05you're on a
51:06time schedule.
51:06There's only so
51:07much you can do.
51:08You got to
51:08understand how
51:09to push,
51:11how when not
51:11to push.
51:13And you don't
51:14know whether
51:16this kid is
51:16going to show
51:17up and just
51:18be amazing
51:19or whatever,
51:19right?
51:21Man,
51:21Giuliano,
51:22man,
51:22this kid
51:22walked in
51:24as a ball
51:25of fire,
51:26pure sunshine,
51:27electricity.
51:29He was so
51:32determined and
51:33focused to
51:34make sure that
51:35he does a
51:36great job.
51:37Now,
51:39there's a few
51:41stages of
51:42Michael,
51:42right?
51:43Whenever I talk
51:44to people,
51:44it's like,
51:44okay,
51:45which stage
51:45you think is
51:46the best?
51:46Because,
51:46yeah,
51:47there's one
51:47thing about
51:47thriller and
51:48bad,
51:48but then again,
51:49you have the
51:49Jackson 5,
51:50Michael,
51:50when he was
51:518,
51:5110,
51:5212,
51:52right?
51:53To me,
51:54that's probably
51:54when he was
51:55young,
51:56it was probably
51:56the most
51:57ecstatic of
51:58all because
51:58that's a
51:59child doing
52:00what adults
52:01do,
52:02okay?
52:03So,
52:04I think our
52:04thing that
52:05worked with
52:06making sure
52:07that we
52:08built half
52:09of the
52:09bridge to
52:10Giuliano was
52:11James Brown,
52:13the godfather,
52:15okay?
52:16This is the
52:19that's right,
52:20that's right,
52:21clap for the
52:22godfather.
52:23Michael watched
52:24James Brown as
52:25a child on
52:26television,
52:27okay?
52:29Perfected
52:29everything that
52:30James Brown
52:30has done.
52:31This is the
52:32bridge that we
52:33built with
52:33Giuliano,
52:34and every
52:35morning when
52:36he walked
52:36in,
52:37he put on
52:38James Brown
52:38and we go
52:39over the
52:40mashed potato
52:40and the
52:41James Brown
52:41steps,
52:42and he
52:42started picking
52:43it up,
52:44and that's
52:45when we
52:45knew,
52:46okay,
52:47we good.
52:50Amen.
52:50Wow.
52:51Close it
52:51with that.
52:52If I can
52:52just say
52:53too,
52:56you have
52:56to understand
52:57just from
52:58our perspective
52:59what these
53:00guys did.
53:01Michael
53:01Jackson was
53:02a prodigy.
53:03He worked
53:04his whole
53:04life to
53:05become who
53:05he was,
53:06and obsessed
53:07over everything.
53:08These guys
53:09did it with
53:10Jafar and
53:10Giuliano in
53:11months,
53:12what Michael
53:12took his
53:13whole life
53:13to do.
53:14That's how
53:14amazing these
53:15guys are.
53:16Thank you,
53:17Bill.
53:18Marcy,
53:19Bill,
53:19Carla,
53:20Richard and
53:21John,
53:22unfortunately,
53:22we have run
53:23out of time.
53:24Are you serious?
53:24Don't we get
53:25all day?
53:25We just
53:25get it started.
53:27We would
53:27love to
53:27continue,
53:28but first
53:29of all,
53:29I think
53:29everyone is
53:30in awe
53:31of your
53:31work.
53:31Thank you
53:32so much
53:32for your
53:33labor of
53:33love.
53:34I mean,
53:34this is so
53:34exciting to
53:35be able to
53:36talk to
53:36you.
53:36Thank you.
53:37Thank you
53:37for bringing
53:38Michael to
53:39Berlin.
53:40Have a great
53:41time.
53:41All the best
53:42of luck with
53:42the movie,
53:43and big round
53:43of applause
53:44for our guests,
53:45please.
53:48Brandon,
53:48where are
53:49you?
53:50Thank you
53:51so much.
53:53Great,
53:53man.
53:54Thank you.
54:15for you.
54:17Thank you.
54:17Thank you.
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