WEBVTT 00:00.033 --> 00:03.300 align:left position:0%,start line:93.33% size:100% >>> COMING UP ON "NYC ARTS" -- A 00:03.300 --> 00:07.500 align:left position:0%,start line:93.33% size:100% CONVERSATION WITH JONATHAN 00:07.500 --> 00:09.833 align:left position:0%,start line:93.33% size:100% STAFFORD AND WENDY WALEN, THE 00:09.833 --> 00:11.133 align:left position:0%,start line:93.33% size:100% NEW ARTISTIC LEADERSHIP OF THE 00:11.133 --> 00:12.300 align:left position:0%,start line:93.33% size:100% NEW YORK CITY BALLET. 00:12.300 --> 00:13.800 align:left position:0%,start line:93.33% size:100% >> IS THERE ANY WAY YOU CAN DO 00:13.800 --> 00:15.500 align:left position:0%,start line:93.33% size:100% LITTLE MORE WITH YOUR HANDS? 00:15.500 --> 00:16.933 align:left position:0%,start line:93.33% size:100% SINCE WENDY AND I BOTH DANCE 00:16.933 --> 00:18.433 align:left position:0%,start line:93.33% size:100% THAT ROLE QUITE A BIT, WE FEEL 00:18.433 --> 00:19.766 align:left position:0%,start line:93.33% size:100% LIKE WE CAN STEP IN THERE AND 00:19.766 --> 00:21.366 align:left position:0%,start line:93.33% size:100% GIVE LITTLE FINE TUNING DETAILS 00:21.366 --> 00:23.333 align:left position:0%,start line:93.33% size:100% TO ELEVATE THE PERFORMANCE THAT 00:23.333 --> 00:23.800 align:left position:0%,start line:93.33% size:100% LITTLE BIT. 00:23.800 --> 00:26.266 align:left position:0%,start line:93.33% size:100% >> I WANTED TO HELP THEM BUILD A 00:26.266 --> 00:27.933 align:left position:0%,start line:93.33% size:100% LANDSCAPE IN THEIR MIND OF WHERE 00:27.933 --> 00:30.500 align:left position:0%,start line:93.33% size:100% TO PUSH FARTHER, WHERE TO SOFTEN 00:30.500 --> 00:30.766 align:left position:0%,start line:93.33% size:100% UP. 00:30.766 --> 00:32.700 align:left position:0%,start line:93.33% size:100% WHERE TO THINK DIFFERENTLY 00:32.700 --> 00:34.166 align:left position:0%,start line:93.33% size:100% THROUGHOUT THE WAY THE MUSIC 00:34.166 --> 00:35.300 align:left position:0%,start line:93.33% size:100% ALSO HAS A LANDSCAPE. 00:35.300 --> 00:36.900 align:left position:0%,start line:93.33% size:100% >> AND A VISIT TO THE 00:36.900 --> 00:38.333 align:left position:0%,start line:93.33% size:100% METROPOLITAN MUSEUM OF ART. 00:38.333 --> 00:40.733 align:left position:0%,start line:93.33% size:100% FOR A LOOK AT THE MUSEUM'S 00:40.733 --> 00:42.700 align:left position:0%,start line:93.33% size:100% COLLECTION OF POST-WAR AND 00:42.700 --> 00:43.633 align:left position:0%,start line:93.33% size:100% CONTEMORARY ART. 00:43.633 --> 00:46.766 align:left position:0%,start line:93.33% size:100% >> WE'RE LOOKING AT JACKSON 00:46.766 --> 00:48.833 align:left position:0%,start line:93.33% size:100% POLLACK'S AUTUMN RHYTHM FROM 00:48.833 --> 00:49.133 align:left position:0%,start line:93.33% size:100% 1950. 00:49.133 --> 00:50.533 align:left position:0%,start line:93.33% size:100% THE PAINTING CAME INTO THE 00:50.533 --> 00:51.666 align:left position:0%,start line:93.33% size:100% COLLECTION IN 1957 AND IT'S ONE 00:51.666 --> 00:55.400 align:left position:0%,start line:93.33% size:100% OF THE TREASURES OF THE METS 00:55.400 --> 00:56.100 align:left position:0%,start line:93.33% size:100% MODERN COLLECTION. 00:56.100 --> 00:57.300 align:left position:0%,start line:93.33% size:100% >> FUNDING FOR "NYC ARTS" IS 00:57.300 --> 01:03.000 align:left position:0%,start line:93.33% size:100% MADE POSSIBLE BY -- ROSALIND P. 01:03.000 --> 01:05.933 align:left position:0%,start line:93.33% size:100% WALTER. 01:05.933 --> 01:07.900 align:left position:0%,start line:93.33% size:100% THE LEWIS SONNY TURNER FUND FOR 01:07.900 --> 01:08.500 align:left position:0%,start line:93.33% size:100% DANCE. 01:08.500 --> 01:11.700 align:left position:0%,start line:93.33% size:100% JODY AND JOHN ARNHOLD. 01:11.700 --> 01:14.800 align:left position:0%,start line:93.33% size:100% KATE W. CASSIDY FOUNDATION. 01:14.800 --> 01:17.266 align:left position:0%,start line:93.33% size:100% ELISE JAFFREY AND JEFFREY BROWN. 01:17.266 --> 01:20.800 align:left position:0%,start line:93.33% size:100% CHARLES AND VALERIE DYKER. 01:20.800 --> 01:25.833 align:left position:0%,start line:93.33% size:100% ELROY AND TERRY CRUMHOLT 01:25.833 --> 01:26.233 align:left position:0%,start line:93.33% size:100% FOUNDATION. 01:26.233 --> 01:30.700 align:left position:0%,start line:93.33% size:100% GENE DABINSKI APPLETON ESTATE. 01:30.700 --> 01:34.466 align:left position:0%,start line:93.33% size:100% AND ELLEN AND JAMES S. MARCUS. 01:34.466 --> 01:37.233 align:left position:0%,start line:93.33% size:100% ADDITIONAL FUNDING PROVIDED BY 01:37.233 --> 01:38.500 align:left position:0%,start line:93.33% size:100% MEMBERS OF THIRTEEN. 01:38.500 --> 01:40.766 align:left position:0%,start line:93.33% size:100% "NYC ARTS" IS MADE POSSIBLE IN 01:40.766 --> 01:41.800 align:left position:0%,start line:93.33% size:100% PART BY FIRST REPUBLIC BANK. 01:41.800 --> 01:43.766 align:left position:0%,start line:93.33% size:100% >> FIRST REPUBLIC BANK PRESENTS 01:43.766 --> 01:45.166 align:left position:0%,start line:93.33% size:100% FIRST THINGS FIRST. 01:45.166 --> 01:47.166 align:left position:0%,start line:93.33% size:100% AT FIRST REPUBLIC BANK, FIRST 01:47.166 --> 01:48.833 align:left position:0%,start line:93.33% size:100% REFERS TO OUR FIRST PRIORITY. 01:48.833 --> 01:51.100 align:left position:0%,start line:93.33% size:100% THE CLIENTS WHO WALK THROUGH OUR 01:51.100 --> 01:51.633 align:left position:0%,start line:93.33% size:100% DOORS. 01:51.633 --> 01:53.933 align:left position:0%,start line:93.33% size:100% THE FIRST STEP, RECOGNIZE THAT 01:53.933 --> 01:55.600 align:left position:0%,start line:93.33% size:100% EVERY CLIENT IS AN INDIVIDUAL 01:55.600 --> 01:58.100 align:left position:0%,start line:93.33% size:100% WITH UNIQUE NEEDS. 01:58.100 --> 01:59.066 align:left position:0%,start line:93.33% size:100% FIRST DECREE. 01:59.066 --> 02:00.833 align:left position:0%,start line:93.33% size:100% BE A BANK WHOSE CURRENCY IS 02:00.833 --> 02:01.166 align:left position:0%,start line:93.33% size:100% SERVICE. 02:01.166 --> 02:05.033 align:left position:0%,start line:93.33% size:100% IN THE FORM OF PERSONAL BANKING. 02:05.033 --> 02:09.266 align:left position:0%,start line:93.33% size:100% THIS IS FIRST REPUBLIC'S MISSION 02:09.266 --> 02:10.966 align:left position:0%,start line:93.33% size:100% FROM OUR VERY FIRST DAY. 02:10.966 --> 02:11.933 align:left position:0%,start line:93.33% size:100% IT'S STILL THE FIRST THINGS ON 02:11.933 --> 02:13.366 align:left position:0%,start line:93.33% size:100% OUR MINDS. 02:13.366 --> 02:20.800 align:left position:0%,start line:93.33% size:100% ♪♪ 02:20.800 --> 02:32.600 align:left position:0%,start line:93.33% size:100% ♪♪ 02:32.600 --> 02:34.600 align:left position:0%,start line:93.33% size:100% >> GOOD EVENING, AND WELCOME TO 02:34.600 --> 02:35.000 align:left position:0%,start line:93.33% size:100% "NYC ARTS." 02:35.000 --> 02:39.800 align:left position:0%,start line:93.33% size:100% I'M PAULA ZAUN AT THE TISH WNET 02:39.800 --> 02:41.000 align:left position:0%,start line:93.33% size:100% STUDIOS AT LINCOLN CENTER. 02:41.000 --> 02:42.366 align:left position:0%,start line:93.33% size:100% TONIGHT ON OUR PROGRAM WE'LL 02:42.366 --> 02:44.166 align:left position:0%,start line:93.33% size:100% MEET THE NEXT GENERATION OF 02:44.166 --> 02:46.333 align:left position:0%,start line:93.33% size:100% ARTISTIC LEADERSHIP AT TWO OF 02:46.333 --> 02:47.566 align:left position:0%,start line:93.33% size:100% THE WORLD'S LEADING INSTITUTIONS 02:47.566 --> 02:48.033 align:left position:0%,start line:93.33% size:100% FOR DANCE. 02:48.033 --> 02:49.400 align:left position:0%,start line:93.33% size:100% NEW YORK CITY BALLET, WHICH 02:49.400 --> 02:50.966 align:left position:0%,start line:93.33% size:100% MAKES ITS HOME RIGHT HERE AT 02:50.966 --> 02:52.266 align:left position:0%,start line:93.33% size:100% LINCOLN CENTER, IS ONE OF THE 02:52.266 --> 02:53.633 align:left position:0%,start line:93.33% size:100% FOREMOST DANCE COMPANIES IN THE 02:53.633 --> 02:55.433 align:left position:0%,start line:93.33% size:100% WORLD. 02:55.433 --> 02:58.000 align:left position:0%,start line:93.33% size:100% IT HAS A ROSTER OF MORE THAN 90 02:58.000 --> 02:58.333 align:left position:0%,start line:93.33% size:100% DANCERS. 02:58.333 --> 03:01.400 align:left position:0%,start line:93.33% size:100% AND AN UNPARALLELED REPERTORY OF 03:01.400 --> 03:06.800 align:left position:0%,start line:93.33% size:100% MODERN MASTERPIECES. 03:06.800 --> 03:12.766 align:left position:0%,start line:93.33% size:100% FOUNDED IN 1948 BY THE LEGENDARY 03:12.766 --> 03:13.900 align:left position:0%,start line:93.33% size:100% CHOREOGRAPHER, ART PATRON, THE 03:13.900 --> 03:15.333 align:left position:0%,start line:93.33% size:100% COMPANY QUICKLY BECAME RENOWNED 03:15.333 --> 03:16.766 align:left position:0%,start line:93.33% size:100% FOR ITS DISTINCTIVE STYLE AND 03:16.766 --> 03:18.166 align:left position:0%,start line:93.33% size:100% THE ORIGINAL BALLETS THAT 03:18.166 --> 03:18.833 align:left position:0%,start line:93.33% size:100% FOREVER CHANGED THE FACE OF 03:18.833 --> 03:21.733 align:left position:0%,start line:93.33% size:100% CLASSICAL DANCE. 03:21.733 --> 03:26.266 align:left position:0%,start line:93.33% size:100% BUT EARLY ON, BALANCHIN MADE IT 03:26.266 --> 03:27.400 align:left position:0%,start line:93.33% size:100% CLEAR THAT ESTABLISHING A BALLET 03:27.400 --> 03:28.300 align:left position:0%,start line:93.33% size:100% SCHOOL WAS A PRIORITY. 03:28.300 --> 03:29.966 align:left position:0%,start line:93.33% size:100% A PLACE TO LEARN. 03:29.966 --> 03:31.600 align:left position:0%,start line:93.33% size:100% INSPIRED BY THE TRAINING HE 03:31.600 --> 03:33.500 align:left position:0%,start line:93.33% size:100% RECEIVED AT THE IMPERIAL BALLET 03:33.500 --> 03:35.400 align:left position:0%,start line:93.33% size:100% SCHOOL IN RUSSIA. 03:35.400 --> 03:38.033 align:left position:0%,start line:93.33% size:100% SO AROSE THE SCHOOL OF AMERICAN 03:38.033 --> 03:39.966 align:left position:0%,start line:93.33% size:100% BALLET. 03:39.966 --> 03:41.166 align:left position:0%,start line:93.33% size:100% WIDELY REGARDED AS THIS 03:41.166 --> 03:42.433 align:left position:0%,start line:93.33% size:100% COUNTRY'S LEADING BALLET 03:42.433 --> 03:44.833 align:left position:0%,start line:93.33% size:100% TRAINING GROUND. 03:44.833 --> 03:46.533 align:left position:0%,start line:93.33% size:100% AS THE OFFICIAL ACADEMY OF THE 03:46.533 --> 03:48.300 align:left position:0%,start line:93.33% size:100% NEW YORK CITY BALLET, THE SCHOOL 03:48.300 --> 03:51.433 align:left position:0%,start line:93.33% size:100% PREPARES ALMOST ALL OF THE 03:51.433 --> 03:52.900 align:left position:0%,start line:93.33% size:100% COMPANY'S DANCERS TO JOIN ITS 03:52.900 --> 03:53.566 align:left position:0%,start line:93.33% size:100% RANKS AS WELL AS DANCERS FOR 03:53.566 --> 04:00.200 align:left position:0%,start line:93.33% size:100% COMPANIES AROUND THE GLOBE. 04:00.200 --> 04:01.900 align:left position:0%,start line:93.33% size:100% LAST FEBRUARY AFTER AN EXTENSIVE 04:01.900 --> 04:03.266 align:left position:0%,start line:93.33% size:100% SEARCH, JONATHAN STAFFORD WAS 04:03.266 --> 04:05.033 align:left position:0%,start line:93.33% size:100% NAMED ARTISTIC DIRECTOR OF NEW 04:05.033 --> 04:06.500 align:left position:0%,start line:93.33% size:100% YORK CITY BALLET AND THE SCHOOL 04:06.500 --> 04:09.500 align:left position:0%,start line:93.33% size:100% OF AMERICAN BALLET. 04:09.500 --> 04:11.600 align:left position:0%,start line:93.33% size:100% AND WENDY WALEN WAS NAMED 04:11.600 --> 04:12.800 align:left position:0%,start line:93.33% size:100% ASSOCIATE ARTISTIC DIRECTOR OF 04:12.800 --> 04:14.833 align:left position:0%,start line:93.33% size:100% THE BALLET COMPANY. 04:14.833 --> 04:16.366 align:left position:0%,start line:93.33% size:100% BOTH ARE ESTEEMED FORMER NEW 04:16.366 --> 04:20.000 align:left position:0%,start line:93.33% size:100% YORK CITY BALLET DANCERS AND 04:20.000 --> 04:21.700 align:left position:0%,start line:93.33% size:100% S.A.B. ALUMS AND ARE UNIVERSALLY 04:21.700 --> 04:23.900 align:left position:0%,start line:93.33% size:100% CONSIDERED TO BE AMONG THE 04:23.900 --> 04:24.633 align:left position:0%,start line:93.33% size:100% BRIGHTEST LUMINARIES IN THE ARTS 04:24.633 --> 04:31.133 align:left position:0%,start line:93.33% size:100% WORLD TODAY. 04:31.133 --> 04:32.633 align:left position:0%,start line:93.33% size:100% NEXT WEEK, THE COMPANY WILL OPEN 04:32.633 --> 04:33.766 align:left position:0%,start line:93.33% size:100% ITS FALL SEASON WITH THE 04:33.766 --> 04:38.000 align:left position:0%,start line:93.33% size:100% PERFORMANCE OF BALANCHIN'S FULL 04:38.000 --> 04:39.266 align:left position:0%,start line:93.33% size:100% LENGTH "JEWELS." 04:39.266 --> 04:42.166 align:left position:0%,start line:93.33% size:100% HIGHLIGHTS FROM THE REPERTORY 04:42.166 --> 04:46.400 align:left position:0%,start line:93.33% size:100% WILL ALSO INCLUDE "SERANADE," 04:46.400 --> 04:49.000 align:left position:0%,start line:93.33% size:100% "SYMPHONY AND SEA" AND CONCERTO 04:49.000 --> 04:50.766 align:left position:0%,start line:93.33% size:100% NUMBER 2." 04:50.766 --> 04:53.100 align:left position:0%,start line:93.33% size:100% WILLIAMS DANCES AT A GATHERING, 04:53.100 --> 04:55.433 align:left position:0%,start line:93.33% size:100% OPUS 19 THE DREAMER. 04:55.433 --> 04:56.800 align:left position:0%,start line:93.33% size:100% AS WELL AS RESIDENT 04:56.800 --> 04:58.733 align:left position:0%,start line:93.33% size:100% CHOREOGRAPHER JUSTIN PECK'S 04:58.733 --> 05:00.833 align:left position:0%,start line:93.33% size:100% "EVERYWHERE WE GO." 05:00.833 --> 05:04.600 align:left position:0%,start line:93.33% size:100% ♪♪ 05:04.600 --> 05:05.300 align:left position:0%,start line:93.33% size:100% I RECENTLY HAD THE HONOR OF 05:05.300 --> 05:06.966 align:left position:0%,start line:93.33% size:100% SPEAKING WITH JONATHAN AND WENDY 05:06.966 --> 05:08.333 align:left position:0%,start line:93.33% size:100% ABOUT THEIR VISION FOR THE 05:08.333 --> 05:10.433 align:left position:0%,start line:93.33% size:100% FUTURE. 05:10.433 --> 05:11.500 align:left position:0%,start line:93.33% size:100% WENDY AND JONATHAN, IT'S GREAT 05:11.500 --> 05:13.633 align:left position:0%,start line:93.33% size:100% TO HAVE YOU WITH US. 05:13.633 --> 05:14.666 align:left position:0%,start line:93.33% size:100% CONGRATULATIONS ON YOUR NEW 05:14.666 --> 05:15.233 align:left position:0%,start line:93.33% size:100% APPOINTMENTS. 05:15.233 --> 05:16.666 align:left position:0%,start line:93.33% size:100% >> THANK YOU. 05:16.666 --> 05:19.133 align:left position:0%,start line:93.33% size:100% >> THANK YOU SO MUCH. 05:19.133 --> 05:21.500 align:left position:0%,start line:93.33% size:100% >> SO, JONATHAN, YOU CAME INTO 05:21.500 --> 05:22.900 align:left position:0%,start line:93.33% size:100% THE COMPANY IN THE THIRD 05:22.900 --> 05:24.866 align:left position:0%,start line:93.33% size:100% ITERATION OF YOUR CAREER AS ONE 05:24.866 --> 05:26.433 align:left position:0%,start line:93.33% size:100% OF THE INTERIM DIRECTORS OF THE 05:26.433 --> 05:27.333 align:left position:0%,start line:93.33% size:100% BALLET PROBABLY DURING ONE OF 05:27.333 --> 05:28.100 align:left position:0%,start line:93.33% size:100% THE MOST TUMULTUOUS TIMES OF THE 05:28.100 --> 05:30.666 align:left position:0%,start line:93.33% size:100% COMPANY'S HISTORY. 05:30.666 --> 05:33.066 align:left position:0%,start line:93.33% size:100% AND NOW, OF COURSE, YOU'VE 05:33.066 --> 05:33.733 align:left position:0%,start line:93.33% size:100% LANDED THE TITLE OF ARTISTIC 05:33.733 --> 05:34.766 align:left position:0%,start line:93.33% size:100% DIRECTOR. 05:34.766 --> 05:42.200 align:left position:0%,start line:93.33% size:100% OF THE NEW YORK CITY BALLET. 05:42.200 --> 05:43.233 align:left position:0%,start line:93.33% size:100% HOW WOULD YOU DESCRIBE THE 05:43.233 --> 05:44.133 align:left position:0%,start line:93.33% size:100% CLIMATE OF THE COMPANY TODAY? 05:44.133 --> 05:45.900 align:left position:0%,start line:93.33% size:100% >> ONE OF THE THINGS I ALWAYS 05:45.900 --> 05:47.300 align:left position:0%,start line:93.33% size:100% CARED ABOUT, THE COMPANY, WAS 05:47.300 --> 05:48.500 align:left position:0%,start line:93.33% size:100% DIRECT AND OPEN COMMUNICATION. 05:48.500 --> 05:51.466 align:left position:0%,start line:93.33% size:100% THAT'S SOMETHING THAT WHEN WENDY 05:51.466 --> 05:52.700 align:left position:0%,start line:93.33% size:100% AND I FIRST STARTED TALKING EACH 05:52.700 --> 05:54.166 align:left position:0%,start line:93.33% size:100% OTHER ABOUT TAKING THE ROLES 05:54.166 --> 05:55.266 align:left position:0%,start line:93.33% size:100% THAT WAS FIRST AND FOREMOST ON 05:55.266 --> 05:56.500 align:left position:0%,start line:93.33% size:100% BOTH OF OUR LISTS AND WHAT WAS 05:56.500 --> 05:57.633 align:left position:0%,start line:93.33% size:100% GREAT ABOUT THAT IS WE'RE REALLY 05:57.633 --> 06:01.066 align:left position:0%,start line:93.33% size:100% ON THE SAME PAGE AND NOT JUST 06:01.066 --> 06:02.100 align:left position:0%,start line:93.33% size:100% DIRECT AND OPEN COMMUNICATION 06:02.100 --> 06:03.533 align:left position:0%,start line:93.33% size:100% BETWEEN US WHICH IS REALLY, 06:03.533 --> 06:04.666 align:left position:0%,start line:93.33% size:100% REALLY IMPORTANT BUT DIRECT AND 06:04.666 --> 06:05.433 align:left position:0%,start line:93.33% size:100% OPEN COMMUNICATION BETWEEN THE 06:05.433 --> 06:07.033 align:left position:0%,start line:93.33% size:100% DANCERS AND THE ARTISTIC STAFF. 06:07.033 --> 06:11.833 align:left position:0%,start line:93.33% size:100% AND THE ARTISTIC LEADERSHIP. 06:11.833 --> 06:12.800 align:left position:0%,start line:93.33% size:100% ESPECIALLY NEW YORK CITY BALLET, 06:12.800 --> 06:14.666 align:left position:0%,start line:93.33% size:100% WE HAVE INCREDIBLE INTELLECTS IN 06:14.666 --> 06:16.000 align:left position:0%,start line:93.33% size:100% OUR DANCER RANKS AND WHAT WE'VE 06:16.000 --> 06:17.800 align:left position:0%,start line:93.33% size:100% STARTED TO DO IS HAVE THIS 06:17.800 --> 06:19.200 align:left position:0%,start line:93.33% size:100% DIALOGUE ABOUT WHAT THEIR NEEDS 06:19.200 --> 06:19.466 align:left position:0%,start line:93.33% size:100% ARE. 06:19.466 --> 06:20.766 align:left position:0%,start line:93.33% size:100% THAT WAY WE CAN HOLD THEM 06:20.766 --> 06:23.033 align:left position:0%,start line:93.33% size:100% ACCOUNTABLE AND GET WHAT WE NEED 06:23.033 --> 06:24.733 align:left position:0%,start line:93.33% size:100% FROM THEM BUT THEY CAN ALSO HOLD 06:24.733 --> 06:26.233 align:left position:0%,start line:93.33% size:100% US ACCOUNTABLE AND BECOME THE 06:26.233 --> 06:28.366 align:left position:0%,start line:93.33% size:100% MOST FULLY-FORMED ARTISTS THEY 06:28.366 --> 06:29.566 align:left position:0%,start line:93.33% size:100% POSSIBLY COULD. 06:29.566 --> 06:31.833 align:left position:0%,start line:93.33% size:100% >> YEAH, IT'S WONDERFUL THAT YOU 06:31.833 --> 06:36.333 align:left position:0%,start line:93.33% size:100% LOOK AT TEAMWORK THE WAY YOU DO. 06:36.333 --> 06:37.500 align:left position:0%,start line:93.33% size:100% HOW WOULD YOU DESCRIBE WHAT YOUR 06:37.500 --> 06:37.933 align:left position:0%,start line:93.33% size:100% DUTIES ARE? 06:37.933 --> 06:41.400 align:left position:0%,start line:93.33% size:100% >> WELL, JOHN AND I HAVE VERY, 06:41.400 --> 06:42.100 align:left position:0%,start line:93.33% size:100% VERY DIFFERENT HISTORIES WITH 06:42.100 --> 06:42.666 align:left position:0%,start line:93.33% size:100% NEW YORK CITY BALLET. 06:42.666 --> 06:43.466 align:left position:0%,start line:93.33% size:100% WE COME FROM DIFFERENT SIDES OF 06:43.466 --> 06:44.400 align:left position:0%,start line:93.33% size:100% THE ART FORM. 06:44.400 --> 06:50.066 align:left position:0%,start line:93.33% size:100% IN A LOT OF WAYS. 06:50.066 --> 06:51.400 align:left position:0%,start line:93.33% size:100% HE WAS GIVEN THAT SORT OF 06:51.400 --> 06:52.666 align:left position:0%,start line:93.33% size:100% OPPORTUNITY TO EXPLORE TEACHING 06:52.666 --> 06:54.400 align:left position:0%,start line:93.33% size:100% AND BALLET MASTERING. 06:54.400 --> 06:55.500 align:left position:0%,start line:93.33% size:100% I WASN'T DOING ANY OF THAT. 06:55.500 --> 06:59.533 align:left position:0%,start line:93.33% size:100% IN FACT, I WAS LIKE, THIS IS NOT 06:59.533 --> 07:00.833 align:left position:0%,start line:93.33% size:100% MY THING. 07:00.833 --> 07:02.933 align:left position:0%,start line:93.33% size:100% I WAS FINDING OPPORTUNITIES TO 07:02.933 --> 07:04.866 align:left position:0%,start line:93.33% size:100% COLLABORATE WITH CHOREOGRAPHERS 07:04.866 --> 07:05.933 align:left position:0%,start line:93.33% size:100% MAKING NEW WORK AND MAKING 07:05.933 --> 07:09.200 align:left position:0%,start line:93.33% size:100% ARTISTIC COLLABORATIONS HAPPEN. 07:09.200 --> 07:11.033 align:left position:0%,start line:93.33% size:100% >> I ALWAYS LOVED DANCING AND I 07:11.033 --> 07:11.966 align:left position:0%,start line:93.33% size:100% LOVED PERFORMING. 07:11.966 --> 07:13.366 align:left position:0%,start line:93.33% size:100% I LOVED THE HIGH I GOT FROM IT 07:13.366 --> 07:17.166 align:left position:0%,start line:93.33% size:100% BUT I DISCOVERED EARLY ON THAT 07:17.166 --> 07:18.966 align:left position:0%,start line:93.33% size:100% THE ADRENALINE RUSH AND 07:18.966 --> 07:20.666 align:left position:0%,start line:93.33% size:100% EVERYTHING WAS HAPPENING MORE SO 07:20.666 --> 07:21.666 align:left position:0%,start line:93.33% size:100% BEHIND THE SCENES THAN WHEN IT 07:21.666 --> 07:27.600 align:left position:0%,start line:93.33% size:100% WAS HAPPENING OUT ON THE STAGE. 07:27.600 --> 07:28.700 align:left position:0%,start line:93.33% size:100% THAT WAS A REALLY KIND OF 07:28.700 --> 07:29.766 align:left position:0%,start line:93.33% size:100% INTERESTING MOMENT FOR ME, I 07:29.766 --> 07:30.900 align:left position:0%,start line:93.33% size:100% SAID, HUH, I REALLY, REALLY LIKE 07:30.900 --> 07:31.333 align:left position:0%,start line:93.33% size:100% TEACHING. 07:31.333 --> 07:32.933 align:left position:0%,start line:93.33% size:100% >> THIS IS JUST AS GOOD. 07:32.933 --> 07:33.666 align:left position:0%,start line:93.33% size:100% >> I LOVE TEACHING. 07:33.666 --> 07:35.700 align:left position:0%,start line:93.33% size:100% >> SO YOU'VE HAD THIS LONG AND 07:35.700 --> 07:37.200 align:left position:0%,start line:93.33% size:100% STORIED CAREER WITH THE NEW YORK 07:37.200 --> 07:38.800 align:left position:0%,start line:93.33% size:100% CITY BALLET DANCING FOR, WHAT, 07:38.800 --> 07:40.633 align:left position:0%,start line:93.33% size:100% MORE THAN 30 YEARS. 07:40.633 --> 07:42.666 align:left position:0%,start line:93.33% size:100% >> I WAS THERE FOR 30 YEARS. 07:42.666 --> 07:45.566 align:left position:0%,start line:93.33% size:100% >> WHICH IS PHENOMENAL. 07:45.566 --> 07:48.033 align:left position:0%,start line:93.33% size:100% >> VERY IMPRESSIVE. 07:48.033 --> 07:50.933 align:left position:0%,start line:93.33% size:100% >> IT REALLY IS. 07:50.933 --> 08:03.866 align:left position:0%,start line:93.33% size:100% ♪♪ 08:03.866 --> 08:05.766 align:left position:0%,start line:93.33% size:100% SO WHAT DID YOU DO TO CONVINCE 08:05.766 --> 08:06.966 align:left position:0%,start line:93.33% size:100% WENDY TO COME BACK? 08:06.966 --> 08:08.566 align:left position:0%,start line:93.33% size:100% BECAUSE YOU WERE ENJOYING -- 08:08.566 --> 08:10.033 align:left position:0%,start line:93.33% size:100% >> JOHN DIDN'T NEED DO ANYTHING 08:10.033 --> 08:11.433 align:left position:0%,start line:93.33% size:100% TO CONVINCE ME TO COME BACK. 08:11.433 --> 08:13.300 align:left position:0%,start line:93.33% size:100% >> YOU WERE ENJOYING YOUR WORK, 08:13.300 --> 08:13.600 align:left position:0%,start line:93.33% size:100% RIGHT? 08:13.600 --> 08:15.266 align:left position:0%,start line:93.33% size:100% YOU WERE SPENDING A LOT OF TIME 08:15.266 --> 08:18.300 align:left position:0%,start line:93.33% size:100% WITH NEW CHOREOGRAPHERS. 08:18.300 --> 08:19.500 align:left position:0%,start line:93.33% size:100% PERHAPS, WHOSE WORK HADN'T BEEN 08:19.500 --> 08:20.500 align:left position:0%,start line:93.33% size:100% DISCOVERED AND THAT WAS AN 08:20.500 --> 08:20.933 align:left position:0%,start line:93.33% size:100% EXCITING TIME. 08:20.933 --> 08:21.466 align:left position:0%,start line:93.33% size:100% WAS IT NOT? 08:21.466 --> 08:23.800 align:left position:0%,start line:93.33% size:100% >> YEAH, WE WERE LEARNING HOW TO 08:23.800 --> 08:26.033 align:left position:0%,start line:93.33% size:100% TEACH, I WAS STARTING TO STAGE 08:26.033 --> 08:29.133 align:left position:0%,start line:93.33% size:100% THINGS. 08:29.133 --> 08:30.600 align:left position:0%,start line:93.33% size:100% NOW I CAN TAKE ALL I LEARNED AND 08:30.600 --> 08:32.533 align:left position:0%,start line:93.33% size:100% CONTINUE TO LEARN AND BRING IT 08:32.533 --> 08:33.400 align:left position:0%,start line:93.33% size:100% BACK INTO WHAT I KNOW. 08:33.400 --> 08:34.966 align:left position:0%,start line:93.33% size:100% >> HOW DO YOU MAINTAIN THE 08:34.966 --> 08:37.400 align:left position:0%,start line:93.33% size:100% EXCELLENCE THAT IS IN PLACE AT 08:37.400 --> 08:38.133 align:left position:0%,start line:93.33% size:100% THE SCHOOL OF AMERICAN BALLET IN 08:38.133 --> 08:41.966 align:left position:0%,start line:93.33% size:100% TERMS OF TEACHING AND IN TERMS 08:41.966 --> 08:44.433 align:left position:0%,start line:93.33% size:100% OF NURTUING THIS YOUNG TALENT, 08:44.433 --> 08:46.433 align:left position:0%,start line:93.33% size:100% MAKING THESE GREAT KIDS 08:46.433 --> 08:50.033 align:left position:0%,start line:93.33% size:100% EXCELLENT. 08:50.033 --> 08:51.566 align:left position:0%,start line:93.33% size:100% SO AT S.A.B., YOU HAVE TO HAVE, 08:51.566 --> 08:53.266 align:left position:0%,start line:93.33% size:100% AT ANY SCHOOL, YOU HAVE TO HAVE 08:53.266 --> 08:55.900 align:left position:0%,start line:93.33% size:100% A REALLY, REALLY CLEAR VISION OF 08:55.900 --> 08:56.733 align:left position:0%,start line:93.33% size:100% HOW YOU'RE GOING TO TEACH, 08:56.733 --> 08:57.766 align:left position:0%,start line:93.33% size:100% WHAT'S IMPORTANT IS YOU'RE 08:57.766 --> 08:58.800 align:left position:0%,start line:93.33% size:100% TEACHING THE STYLE. 08:58.800 --> 08:59.533 align:left position:0%,start line:93.33% size:100% WE'RE FORTUNATE WE WERE LEFT 08:59.533 --> 09:01.000 align:left position:0%,start line:93.33% size:100% WITH A VERY CLEAR VISION OF HOW 09:01.000 --> 09:03.700 align:left position:0%,start line:93.33% size:100% TO TEACH STUDENTS. 09:03.700 --> 09:07.033 align:left position:0%,start line:93.33% size:100% >> HOW WOULD YOU DISTILL THAT 09:07.033 --> 09:09.400 align:left position:0%,start line:93.33% size:100% DOWN TO A SENTENCE OR TWO? 09:09.400 --> 09:10.133 align:left position:0%,start line:93.33% size:100% >> FAST, DYNAMIC, PRECISE. 09:10.133 --> 09:10.900 align:left position:0%,start line:93.33% size:100% >> MUSICAL. 09:10.900 --> 09:14.033 align:left position:0%,start line:93.33% size:100% >> MUSICAL. 09:14.033 --> 09:15.300 align:left position:0%,start line:93.33% size:100% >> EXPRESSIVE. 09:15.300 --> 09:15.766 align:left position:0%,start line:93.33% size:100% NOT SO? 09:15.766 --> 09:18.133 align:left position:0%,start line:93.33% size:100% >> ECONOMICAL MOVEMENT. 09:18.133 --> 09:19.933 align:left position:0%,start line:93.33% size:100% CLEAR CLARITY OF POSITION. 09:19.933 --> 09:20.866 align:left position:0%,start line:93.33% size:100% IT'S NOT ABOUT ACTING. 09:20.866 --> 09:21.733 align:left position:0%,start line:93.33% size:100% IT'S NOT ABOUT BECOMING 09:21.733 --> 09:22.866 align:left position:0%,start line:93.33% size:100% SOMETHING OTHER THAN WHAT YOU 09:22.866 --> 09:23.566 align:left position:0%,start line:93.33% size:100% ARE, BUT BECOMING THE BEST OF 09:23.566 --> 09:28.200 align:left position:0%,start line:93.33% size:100% YOU. 09:28.200 --> 09:29.300 align:left position:0%,start line:93.33% size:100% >> HOW DOES THAT HELP CONNECT 09:29.300 --> 09:30.500 align:left position:0%,start line:93.33% size:100% YOU TO THE OVERALL MISSION OF 09:30.500 --> 09:31.066 align:left position:0%,start line:93.33% size:100% THE BALLET? 09:31.066 --> 09:33.433 align:left position:0%,start line:93.33% size:100% YOU'RE REALLY APPROACHING IT AS 09:33.433 --> 09:35.900 align:left position:0%,start line:93.33% size:100% A TEACH E FORMER PRINCIPAL 09:35.900 --> 09:36.833 align:left position:0%,start line:93.33% size:100% DANCER. 09:36.833 --> 09:39.366 align:left position:0%,start line:93.33% size:100% AND NOW THE GUY RUNNING THE 09:39.366 --> 09:42.700 align:left position:0%,start line:93.33% size:100% PLACE. 09:42.700 --> 09:45.066 align:left position:0%,start line:93.33% size:100% >> IT'S UNIQUE AT NEW YORK 09:45.066 --> 09:47.533 align:left position:0%,start line:93.33% size:100% SCHOOL OF BALLET, 95% ARE FROM 09:47.533 --> 09:48.633 align:left position:0%,start line:93.33% size:100% THE SCHOOL OF BALLET. 09:48.633 --> 09:49.300 align:left position:0%,start line:93.33% size:100% THAT'S UNIQUE. 09:49.300 --> 09:50.433 align:left position:0%,start line:93.33% size:100% >> THAT MEANS YOU'RE GETTING THE 09:50.433 --> 09:51.866 align:left position:0%,start line:93.33% size:100% BEST OF THE BEST OF THE BEST, IS 09:51.866 --> 09:52.566 align:left position:0%,start line:93.33% size:100% THAT WHY THAT NUMBER -- 09:52.566 --> 09:53.266 align:left position:0%,start line:93.33% size:100% >> WE TRY TO CULTIVATE AN IDEA 09:53.266 --> 09:59.700 align:left position:0%,start line:93.33% size:100% ABOUT HOW WE DANCE THIS WORK. 09:59.700 --> 10:01.133 align:left position:0%,start line:93.33% size:100% HOW WE APPROACH OUR WORK, 10:01.133 --> 10:03.733 align:left position:0%,start line:93.33% size:100% THERE'S JUST A WHOLE SORT OF 10:03.733 --> 10:05.966 align:left position:0%,start line:93.33% size:100% ECOSYSTEM OF THOUGHT AND FOCUS 10:05.966 --> 10:09.100 align:left position:0%,start line:93.33% size:100% AND STYLE AND TECHNIQUE AND 10:09.100 --> 10:16.900 align:left position:0%,start line:93.33% size:100% UNDERSTANDING. 10:16.900 --> 10:18.966 align:left position:0%,start line:93.33% size:100% >> SO WE HAD THE PRIVILEGE OF 10:18.966 --> 10:22.866 align:left position:0%,start line:93.33% size:100% BEING EMBEDDED IN ONE OF YOUR 10:22.866 --> 10:23.400 align:left position:0%,start line:93.33% size:100% RECITALS. 10:23.400 --> 10:25.433 align:left position:0%,start line:93.33% size:100% "CONCERTO 2." 10:25.433 --> 10:25.766 align:left position:0%,start line:93.33% size:100% >> YES. 10:25.766 --> 10:26.900 align:left position:0%,start line:93.33% size:100% >> DESCRIBE THE PROCESS YOU WERE 10:26.900 --> 10:28.200 align:left position:0%,start line:93.33% size:100% TAKING THE DANCERS THROUGH. 10:28.200 --> 10:29.566 align:left position:0%,start line:93.33% size:100% >> IT WILL TAKE A LITTLE MORE 10:29.566 --> 10:29.866 align:left position:0%,start line:93.33% size:100% TIME. 10:29.866 --> 10:31.766 align:left position:0%,start line:93.33% size:100% AT THAT POINT, THE CORE HAVE 10:31.766 --> 10:34.166 align:left position:0%,start line:93.33% size:100% BEEN REHEARSING ON THEIR OWN, 10:34.166 --> 10:35.566 align:left position:0%,start line:93.33% size:100% THE PRINCIPALS HAVE BEEN 10:35.566 --> 10:36.800 align:left position:0%,start line:93.33% size:100% REHEARSING ON THEIR OWN IN 10:36.800 --> 10:37.766 align:left position:0%,start line:93.33% size:100% SEPARATE STUDIOS. 10:37.766 --> 10:40.433 align:left position:0%,start line:93.33% size:100% WE BRING IT ALL TOGETHER TO DO A 10:40.433 --> 10:40.833 align:left position:0%,start line:93.33% size:100% RUN-THROUGH. 10:40.833 --> 10:41.733 align:left position:0%,start line:93.33% size:100% THE PRINCIPAL DANCERS IN THAT 10:41.733 --> 10:43.700 align:left position:0%,start line:93.33% size:100% ROLE HAVE DANCED THIS BALLET 10:43.700 --> 10:44.033 align:left position:0%,start line:93.33% size:100% BEFORE. 10:44.033 --> 10:45.366 align:left position:0%,start line:93.33% size:100% SO THEY'RE ALREADY AT A REALLY 10:45.366 --> 10:46.466 align:left position:0%,start line:93.33% size:100% HIGH LEVEL. 10:46.466 --> 10:47.600 align:left position:0%,start line:93.33% size:100% >> I WONDER IS THERE ANY WAY TO 10:47.600 --> 10:48.566 align:left position:0%,start line:93.33% size:100% DO A LITTLE MORE WITH YOUR 10:48.566 --> 10:50.000 align:left position:0%,start line:93.33% size:100% HANDS? 10:50.000 --> 10:54.000 align:left position:0%,start line:93.33% size:100% >> AND SINCE WENDY AND I BOTH 10:54.000 --> 10:54.733 align:left position:0%,start line:93.33% size:100% DANCE THAT ROLE QUITE A BIT, WE 10:54.733 --> 10:55.466 align:left position:0%,start line:93.33% size:100% FEEL LIKE WE CAN STEP IN THERE 10:55.466 --> 10:56.866 align:left position:0%,start line:93.33% size:100% AND GIVE, YOU KNOW, JUST A 10:56.866 --> 10:58.233 align:left position:0%,start line:93.33% size:100% LITTLE FINE TUNING DETAILS TO 10:58.233 --> 10:59.166 align:left position:0%,start line:93.33% size:100% JUST ELEVATE THE PERFORMANCE 10:59.166 --> 11:01.233 align:left position:0%,start line:93.33% size:100% THAT LITTLE BIT. 11:01.233 --> 11:02.433 align:left position:0%,start line:93.33% size:100% AND WE ALSO WANT TO PUT THE 11:02.433 --> 11:03.600 align:left position:0%,start line:93.33% size:100% DANCERS IN A POSITION WHERE THEY 11:03.600 --> 11:05.366 align:left position:0%,start line:93.33% size:100% GO ONSTAGE AND THEY'RE NOT 11:05.366 --> 11:07.433 align:left position:0%,start line:93.33% size:100% THINKING ABOUT HOW THEY'RE 11:07.433 --> 11:08.433 align:left position:0%,start line:93.33% size:100% EXECUTING. 11:08.433 --> 11:12.400 align:left position:0%,start line:93.33% size:100% THEY'RE JUST LETTING GO. 11:12.400 --> 11:13.200 align:left position:0%,start line:93.33% size:100% THEY'RE JUST GOING OUT AND 11:13.200 --> 11:13.533 align:left position:0%,start line:93.33% size:100% DANCING. 11:13.533 --> 11:15.366 align:left position:0%,start line:93.33% size:100% >> WORKING WITH THE PRINCIPALS 11:15.366 --> 11:16.633 align:left position:0%,start line:93.33% size:100% FOR MYSELF WAS SO FUN, ACTUALLY 11:16.633 --> 11:18.066 align:left position:0%,start line:93.33% size:100% FOR THE FIRST TIME I WORKED ON 11:18.066 --> 11:21.733 align:left position:0%,start line:93.33% size:100% THAT PIECE WITH TERESA RIKLAN 11:21.733 --> 11:23.200 align:left position:0%,start line:93.33% size:100% AND RUSSELL JANSEN. 11:23.200 --> 11:24.933 align:left position:0%,start line:93.33% size:100% THEY'RE PERFECT DANCERS. 11:24.933 --> 11:27.000 align:left position:0%,start line:93.33% size:100% THEY'RE LONG AND THEY'RE VERY 11:27.000 --> 11:30.533 align:left position:0%,start line:93.33% size:100% CLEAN AND CLEAR. 11:30.533 --> 11:32.366 align:left position:0%,start line:93.33% size:100% I WANTED TO TRY TO BRING OUT THE 11:32.366 --> 11:33.333 align:left position:0%,start line:93.33% size:100% DYNAMICS OF THE MUSIC WITH THEM. 11:33.333 --> 11:36.533 align:left position:0%,start line:93.33% size:100% >> I ALSO LIKE HOW YOU WERE 11:36.533 --> 11:37.766 align:left position:0%,start line:93.33% size:100% HITTING -- LIGHTLY -- 11:37.766 --> 11:39.033 align:left position:0%,start line:93.33% size:100% >> HELP THEM BUILD A LANDSCAPE 11:39.033 --> 11:43.066 align:left position:0%,start line:93.33% size:100% IN THEIR MIND OF WHERE TO PUSH 11:43.066 --> 11:45.233 align:left position:0%,start line:93.33% size:100% FARTHER, WHERE TO SOFTEN UP, 11:45.233 --> 11:46.566 align:left position:0%,start line:93.33% size:100% WHERE TO THINK DIFFERENTLY 11:46.566 --> 11:47.266 align:left position:0%,start line:93.33% size:100% THROUGHOUT. 11:47.266 --> 11:49.333 align:left position:0%,start line:93.33% size:100% THE WAY THE MUSIC ALSO HAS A 11:49.333 --> 11:49.700 align:left position:0%,start line:93.33% size:100% LANDSCAPE. 11:49.700 --> 11:50.566 align:left position:0%,start line:93.33% size:100% FOR ME, IT WAS A TOTAL THRILL TO 11:50.566 --> 11:51.566 align:left position:0%,start line:93.33% size:100% GET TO WORK WITH THEM FOR THE 11:51.566 --> 11:52.966 align:left position:0%,start line:93.33% size:100% FIRST TIME. 11:52.966 --> 11:55.533 align:left position:0%,start line:93.33% size:100% SO THE OTHER BALLET THAT WAS 11:55.533 --> 11:56.666 align:left position:0%,start line:93.33% size:100% BEING REHEARSED, WHAT DO WE SEE 11:56.666 --> 12:00.000 align:left position:0%,start line:93.33% size:100% UNFOLD ON THE SCREEN THERE? 12:00.000 --> 12:01.133 align:left position:0%,start line:93.33% size:100% >> THAT IS A MUCH SMALLER, MORE 12:01.133 --> 12:03.466 align:left position:0%,start line:93.33% size:100% INTIMATE PIECE. 12:03.466 --> 12:05.033 align:left position:0%,start line:93.33% size:100% WHERE THE PRINCIPAL DANCERS 12:05.033 --> 12:06.466 align:left position:0%,start line:93.33% size:100% SPEND MOST OF THE BALLET ONSTAGE 12:06.466 --> 12:12.533 align:left position:0%,start line:93.33% size:100% BY THEMSELVES. 12:12.533 --> 12:13.166 align:left position:0%,start line:93.33% size:100% SO INTIMATE. 12:13.166 --> 12:13.900 align:left position:0%,start line:93.33% size:100% >> IT'S ALSO EPIC BECAUSE THERE 12:13.900 --> 12:15.833 align:left position:0%,start line:93.33% size:100% ARE SO MANY DETAILS. 12:15.833 --> 12:19.700 align:left position:0%,start line:93.33% size:100% >> AND THEN MAYBE LATE 12:19.700 --> 12:21.066 align:left position:0%,start line:93.33% size:100% SOMETHING, JUST HANG BACK A TINY 12:21.066 --> 12:22.200 align:left position:0%,start line:93.33% size:100% BIT AS YOU SKIP FORWARD OR 12:22.200 --> 12:23.000 align:left position:0%,start line:93.33% size:100% SOMETHING. 12:23.000 --> 12:28.900 align:left position:0%,start line:93.33% size:100% ♪♪ 12:28.900 --> 12:31.900 align:left position:0%,start line:93.33% size:100% >> IT'S HIS HIGHEST INTELLECT OF 12:31.900 --> 12:33.500 align:left position:0%,start line:93.33% size:100% MAKING BALLETS. 12:33.500 --> 12:38.200 align:left position:0%,start line:93.33% size:100% IT'S A CONVERSATION BETWEEN THE 12:38.200 --> 12:39.166 align:left position:0%,start line:93.33% size:100% PARTNERS AS WELL. 12:39.166 --> 12:42.333 align:left position:0%,start line:93.33% size:100% BETWEEN THE MAN AND THE WOMAN. 12:42.333 --> 12:49.233 align:left position:0%,start line:93.33% size:100% AND IT ALSO HAS A QUALITY OF 12:49.233 --> 12:51.900 align:left position:0%,start line:93.33% size:100% LOOKING IMPROVISE LOOKING, IT 12:51.900 --> 12:53.100 align:left position:0%,start line:93.33% size:100% LOOKS LIKE THEY'RE HAVING A 12:53.100 --> 12:53.933 align:left position:0%,start line:93.33% size:100% CONVERSATION, THEY'RE COMING UP 12:53.933 --> 12:54.666 align:left position:0%,start line:93.33% size:100% WITH THE STEPS EVEN THOUGH 12:54.666 --> 12:55.933 align:left position:0%,start line:93.33% size:100% THEY'RE DEFINED. 12:55.933 --> 12:57.033 align:left position:0%,start line:93.33% size:100% TO ME, THAT'S AN INTERESTING 12:57.033 --> 13:02.100 align:left position:0%,start line:93.33% size:100% QUALITY OF MAKING DANCE, 13:02.100 --> 13:02.500 align:left position:0%,start line:93.33% size:100% ESPECIALLY. 13:02.500 --> 13:03.533 align:left position:0%,start line:93.33% size:100% PEOPLE DIDN'T MAKE BALLETS LIKE 13:03.533 --> 13:03.833 align:left position:0%,start line:93.33% size:100% THAT. 13:03.833 --> 13:05.233 align:left position:0%,start line:93.33% size:100% AT THE TIME, IT WAS VERY CLEAN, 13:05.233 --> 13:07.800 align:left position:0%,start line:93.33% size:100% CLEAR, DIRECT, ALIGNED AND HE 13:07.800 --> 13:08.666 align:left position:0%,start line:93.33% size:100% TURNED IT ALL ON ITS SIDE AND 13:08.666 --> 13:10.500 align:left position:0%,start line:93.33% size:100% PUT THESE RHYTHMS IN SO IT'S 13:10.500 --> 13:10.866 align:left position:0%,start line:93.33% size:100% TUMBLING. 13:10.866 --> 13:12.800 align:left position:0%,start line:93.33% size:100% THE STEPS SORT OF TUMBLE OUT. 13:12.800 --> 13:15.000 align:left position:0%,start line:93.33% size:100% AND IT'S EXTREMELY EXCITING TO 13:15.000 --> 13:17.733 align:left position:0%,start line:93.33% size:100% DO. 13:17.733 --> 13:20.200 align:left position:0%,start line:93.33% size:100% >> WHAT ARE YOUR GOALS WHEN IT 13:20.200 --> 13:21.700 align:left position:0%,start line:93.33% size:100% COMES TO THE REPERTOIRE OF THE 13:21.700 --> 13:22.033 align:left position:0%,start line:93.33% size:100% BALLET? 13:22.033 --> 13:27.633 align:left position:0%,start line:93.33% size:100% >> LOTS. 13:27.633 --> 13:29.966 align:left position:0%,start line:93.33% size:100% OBVIOUSLY FIRST AND FOREMOST, 13:29.966 --> 13:31.400 align:left position:0%,start line:93.33% size:100% WHAT THE CORE OF NEW YORK CITY 13:31.400 --> 13:32.100 align:left position:0%,start line:93.33% size:100% BALLET IS AND ALWAYS WILL BE. 13:32.100 --> 13:38.366 align:left position:0%,start line:93.33% size:100% ♪♪ 13:38.366 --> 13:46.066 align:left position:0%,start line:93.33% size:100% ♪♪ 13:46.066 --> 13:47.666 align:left position:0%,start line:93.33% size:100% SO WE HAVE TO MAINTAIN THE 13:47.666 --> 13:48.700 align:left position:0%,start line:93.33% size:100% INTEGRITY OF THAT REP. 13:48.700 --> 13:50.000 align:left position:0%,start line:93.33% size:100% WE HAVE TO MAINTAIN THE 13:50.000 --> 13:50.766 align:left position:0%,start line:93.33% size:100% EXCITEMENT OF THAT REP. 13:50.766 --> 13:52.500 align:left position:0%,start line:93.33% size:100% AND WE HAVE TO MAKE SURE THAT IT 13:52.500 --> 13:53.933 align:left position:0%,start line:93.33% size:100% STAYS FRESH AND ALIVE AND 13:53.933 --> 13:54.933 align:left position:0%,start line:93.33% size:100% VIBRANT IN ALL THE YEARS GOING 13:54.933 --> 13:55.300 align:left position:0%,start line:93.33% size:100% FORWARD. 13:55.300 --> 13:56.966 align:left position:0%,start line:93.33% size:100% >> IS THAT DIFFICULT? 13:56.966 --> 13:58.500 align:left position:0%,start line:93.33% size:100% >> WELL, WE'RE PASSING IT ON 13:58.500 --> 14:00.300 align:left position:0%,start line:93.33% size:100% FROM GENERATION TO GENERATION, 14:00.300 --> 14:01.333 align:left position:0%,start line:93.33% size:100% SO THERE'S NEW PEOPLE LEARNING 14:01.333 --> 14:04.366 align:left position:0%,start line:93.33% size:100% IT AND THERE'S NEW PEOPLE 14:04.366 --> 14:05.033 align:left position:0%,start line:93.33% size:100% APPROACHING IT AT DIFFERENT 14:05.033 --> 14:05.600 align:left position:0%,start line:93.33% size:100% TIMES IN THEIR LIVES. 14:05.600 --> 14:06.666 align:left position:0%,start line:93.33% size:100% IT HAS THAT ABILITY TO REMAIN 14:06.666 --> 14:07.266 align:left position:0%,start line:93.33% size:100% FRESH. 14:07.266 --> 14:08.666 align:left position:0%,start line:93.33% size:100% >> YOU DEVELOPED THIS 14:08.666 --> 14:12.300 align:left position:0%,start line:93.33% size:100% INTERESTING IDEA OF TRYING TO 14:12.300 --> 14:16.100 align:left position:0%,start line:93.33% size:100% BRING BACK SOME OF THE MUSES 14:16.100 --> 14:19.166 align:left position:0%,start line:93.33% size:100% THAT INSPIRED BALANCHIN. 14:19.166 --> 14:20.300 align:left position:0%,start line:93.33% size:100% HOW IS THAT WORKING OUT? 14:20.300 --> 14:21.966 align:left position:0%,start line:93.33% size:100% >> WE'RE BRINGING HIM BACK, 14:21.966 --> 14:22.966 align:left position:0%,start line:93.33% size:100% SELFISHLY FOR US, TO LEARN FROM. 14:22.966 --> 14:23.333 align:left position:0%,start line:93.33% size:100% >> YEAH. 14:23.333 --> 14:24.633 align:left position:0%,start line:93.33% size:100% >> TO BE OUR GUIDES. 14:24.633 --> 14:26.266 align:left position:0%,start line:93.33% size:100% TO INFORM QUESTIONS THAT WE HAVE 14:26.266 --> 14:27.000 align:left position:0%,start line:93.33% size:100% ALWAYS HAD THAT WE DIDN'T FULLY 14:27.000 --> 14:28.566 align:left position:0%,start line:93.33% size:100% HAVE THE ANSWERS TO. 14:28.566 --> 14:30.333 align:left position:0%,start line:93.33% size:100% IT'S REALLY LIKE OPENING THE 14:30.333 --> 14:34.533 align:left position:0%,start line:93.33% size:100% TREASURE CHEST, LETTING THE GEMS 14:34.533 --> 14:36.100 align:left position:0%,start line:93.33% size:100% GLISTEN FOR US AND SEEING -- 14:36.100 --> 14:38.066 align:left position:0%,start line:93.33% size:100% >> IT'S SO IMPORTANT, BALLET'S 14:38.066 --> 14:39.233 align:left position:0%,start line:93.33% size:100% AN ART FORM THAT'S PASSED DOWN 14:39.233 --> 14:39.900 align:left position:0%,start line:93.33% size:100% REALLY VOCALLY. 14:39.900 --> 14:41.666 align:left position:0%,start line:93.33% size:100% AND PHYSICALLY. 14:41.666 --> 14:44.033 align:left position:0%,start line:93.33% size:100% BY, YOU KNOW, DEMONSTRATING. 14:44.033 --> 14:45.433 align:left position:0%,start line:93.33% size:100% AND WE DIDN'T GET TO WORK 14:45.433 --> 14:47.600 align:left position:0%,start line:93.33% size:100% DIRECTLY UNDER BALANCHIN. 14:47.600 --> 14:48.833 align:left position:0%,start line:93.33% size:100% YOU KNOW, WE'RE KIND OF THE NEXT 14:48.833 --> 14:49.400 align:left position:0%,start line:93.33% size:100% GENERATION NOW. 14:49.400 --> 14:50.333 align:left position:0%,start line:93.33% size:100% THAT DIDN'T HAVE THAT DIRECT 14:50.333 --> 14:51.966 align:left position:0%,start line:93.33% size:100% CONTACT WITH HIM. 14:51.966 --> 14:52.833 align:left position:0%,start line:93.33% size:100% BUT THERE ARE ALL THESE PEOPLE 14:52.833 --> 14:53.566 align:left position:0%,start line:93.33% size:100% OUT THERE WHO DID. 14:53.566 --> 14:55.966 align:left position:0%,start line:93.33% size:100% AND THAT HE CREATED HIS 14:55.966 --> 14:56.666 align:left position:0%,start line:93.33% size:100% MASTERPIECES ON. 14:56.666 --> 14:58.200 align:left position:0%,start line:93.33% size:100% AND SO WE THOUGHT IT JUST MADE 14:58.200 --> 15:00.266 align:left position:0%,start line:93.33% size:100% PERFECT SENSE TO BRING THEM ON. 15:00.266 --> 15:02.266 align:left position:0%,start line:93.33% size:100% SELFISHLY FOR US TO LEARN FROM. 15:02.266 --> 15:03.566 align:left position:0%,start line:93.33% size:100% BUT THEY'RE ALSO TEACHING THE 15:03.566 --> 15:05.166 align:left position:0%,start line:93.33% size:100% DANCERS WHO ARE THEN SOMEDAY 15:05.166 --> 15:06.666 align:left position:0%,start line:93.33% size:100% GOING TO BE IN OUR POSITIONS AND 15:06.666 --> 15:08.033 align:left position:0%,start line:93.33% size:100% PASSING IT ON TO THE NEXT 15:08.033 --> 15:09.366 align:left position:0%,start line:93.33% size:100% GENERATION AND SO IT'S -- 15:09.366 --> 15:11.533 align:left position:0%,start line:93.33% size:100% >> IT'S YOUR VERSION OF AN ORAL 15:11.533 --> 15:12.233 align:left position:0%,start line:93.33% size:100% HISTORY IN A WAY. 15:12.233 --> 15:14.033 align:left position:0%,start line:93.33% size:100% >> IT REALLY IS, AND TO SEE 15:14.033 --> 15:18.100 align:left position:0%,start line:93.33% size:100% EDDIE VALELLA WHO BALANCIN 15:18.100 --> 15:20.400 align:left position:0%,start line:93.33% size:100% REVIVED PRODIGAL SON IS THE MOST 15:20.400 --> 15:25.433 align:left position:0%,start line:93.33% size:100% ICONIC WORLD IN THE REP, WORKING 15:25.433 --> 15:29.200 align:left position:0%,start line:93.33% size:100% WITH WAUKEEN DELUSE, HE'S GONE 15:29.200 --> 15:30.400 align:left position:0%,start line:93.33% size:100% ON, HE'S NOW A DIRECTOR, SEE THE 15:30.400 --> 15:32.633 align:left position:0%,start line:93.33% size:100% TWO OF THEM ONSTAGE AND HAVE AN 15:32.633 --> 15:33.700 align:left position:0%,start line:93.33% size:100% INTIMATE MOMENT WORKING ON IT, 15:33.700 --> 15:35.300 align:left position:0%,start line:93.33% size:100% WE'RE STANDING IN THE WINGS WITH 15:35.300 --> 15:36.900 align:left position:0%,start line:93.33% size:100% OUR MOUTHS WIDE OPEN, WATCHING 15:36.900 --> 15:38.200 align:left position:0%,start line:93.33% size:100% THIS INCREDIBLE MOMENT BETWEEN 15:38.200 --> 15:39.500 align:left position:0%,start line:93.33% size:100% TWO WORLD-CLASS, WORLD-FAMOUS 15:39.500 --> 15:40.000 align:left position:0%,start line:93.33% size:100% ARTISTS. 15:40.000 --> 15:41.733 align:left position:0%,start line:93.33% size:100% >> HOW ARE YOU APPROACHING NEW 15:41.733 --> 15:42.033 align:left position:0%,start line:93.33% size:100% WORK? 15:42.033 --> 15:43.166 align:left position:0%,start line:93.33% size:100% THAT'S WHAT YOU'RE TASKED WITH, 15:43.166 --> 15:43.466 align:left position:0%,start line:93.33% size:100% RIGHT? 15:43.466 --> 15:45.033 align:left position:0%,start line:93.33% size:100% >> THAT'S ONE OF MY TASKS. 15:45.033 --> 15:46.400 align:left position:0%,start line:93.33% size:100% >> BEING ON THE HUNT FOR THOSE 15:46.400 --> 15:47.233 align:left position:0%,start line:93.33% size:100% NEW GREAT WORKS. 15:47.233 --> 15:47.666 align:left position:0%,start line:93.33% size:100% >> YEAH. 15:47.666 --> 15:48.900 align:left position:0%,start line:93.33% size:100% THAT'S SOMETHING THAT'S WENDY'S 15:48.900 --> 15:51.266 align:left position:0%,start line:93.33% size:100% REALLY KIND OF INSPIRED IN ME, 15:51.266 --> 15:52.866 align:left position:0%,start line:93.33% size:100% YOU KNOW, TO REALLY UNDERSTAND 15:52.866 --> 15:53.233 align:left position:0%,start line:93.33% size:100% THAT. 15:53.233 --> 15:55.000 align:left position:0%,start line:93.33% size:100% THAT THE NEW WORK IS NOT JUST 15:55.000 --> 15:56.766 align:left position:0%,start line:93.33% size:100% FOR -- TO BUILD A NEW AUDIENCE, 15:56.766 --> 15:57.866 align:left position:0%,start line:93.33% size:100% A YOUNGER AUDIENCE, TO EXCITE 15:57.866 --> 15:59.033 align:left position:0%,start line:93.33% size:100% THE AUDIENCE, WHAT WE'RE DOING, 15:59.033 --> 16:00.200 align:left position:0%,start line:93.33% size:100% BUT IT'S ACTUALLY TO REALLY 16:00.200 --> 16:01.666 align:left position:0%,start line:93.33% size:100% DEVELOP THE ARTIST AND FEED THE 16:01.666 --> 16:02.000 align:left position:0%,start line:93.33% size:100% ARTIST. 16:02.000 --> 16:04.200 align:left position:0%,start line:93.33% size:100% >> SO IN TRYING TO BALANCE THE 16:04.200 --> 16:07.800 align:left position:0%,start line:93.33% size:100% NEED TO CONTINUE TO FEED YOUR 16:07.800 --> 16:11.166 align:left position:0%,start line:93.33% size:100% ARTISTS AND TO EXPAND YOUR 16:11.166 --> 16:12.300 align:left position:0%,start line:93.33% size:100% REPERTORY, HOW CONCERNED DO YOU 16:12.300 --> 16:14.066 align:left position:0%,start line:93.33% size:100% HAVE TO BE ABOUT ALIENATING YOUR 16:14.066 --> 16:15.000 align:left position:0%,start line:93.33% size:100% CORE AUDIENCE? 16:15.000 --> 16:17.766 align:left position:0%,start line:93.33% size:100% IF THESE PIECES ARE ULTIMATELY 16:17.766 --> 16:18.833 align:left position:0%,start line:93.33% size:100% PERFORMED ONSTAGE. 16:18.833 --> 16:20.400 align:left position:0%,start line:93.33% size:100% >> YOU KNOW, I THINK OUR 16:20.400 --> 16:22.000 align:left position:0%,start line:93.33% size:100% AUDIENCE IS ACTUALLY REALLY 16:22.000 --> 16:22.833 align:left position:0%,start line:93.33% size:100% OPEN-MINDED. 16:22.833 --> 16:26.066 align:left position:0%,start line:93.33% size:100% OUR AUDIENCE IS VERY INTELLIGENT 16:26.066 --> 16:27.433 align:left position:0%,start line:93.33% size:100% AND VERY SOPHISTICATED. 16:27.433 --> 16:28.933 align:left position:0%,start line:93.33% size:100% THEY KNOW WHAT THEY'RE SEEING 16:28.933 --> 16:31.033 align:left position:0%,start line:93.33% size:100% AND THEY KNOW AT NEW YORK CITY 16:31.033 --> 16:31.733 align:left position:0%,start line:93.33% size:100% BALLET THAT WE'RE ALWAYS GOING 16:31.733 --> 16:32.700 align:left position:0%,start line:93.33% size:100% TO CREATE NEW WORK AND THEY'RE 16:32.700 --> 16:33.633 align:left position:0%,start line:93.33% size:100% EXCITED BY THAT. 16:33.633 --> 16:36.133 align:left position:0%,start line:93.33% size:100% >> THAT'S WHY THEY COME. 16:36.133 --> 16:36.800 align:left position:0%,start line:93.33% size:100% THAT'S WHAT WE'RE ABOUT. 16:36.800 --> 16:38.266 align:left position:0%,start line:93.33% size:100% >> THAT'S WHAT'S SO FUN ABOUT 16:38.266 --> 16:39.533 align:left position:0%,start line:93.33% size:100% NEW YORK CITY BALLET, THEY LOVE 16:39.533 --> 16:42.633 align:left position:0%,start line:93.33% size:100% THE BALANCHINS AND THE ROBINS. 16:42.633 --> 16:43.633 align:left position:0%,start line:93.33% size:100% THEY ALSO LOVE THE NEW WORK. 16:43.633 --> 16:44.800 align:left position:0%,start line:93.33% size:100% WE HAVE STEPPED OUTSIDE THE BOX 16:44.800 --> 16:45.966 align:left position:0%,start line:93.33% size:100% IN THE LAST YEAR WITH SOME OF 16:45.966 --> 16:47.333 align:left position:0%,start line:93.33% size:100% OUR NEW WORKS AND BEEN RECEIVED 16:47.333 --> 16:49.400 align:left position:0%,start line:93.33% size:100% FOR THE MOST PART REALLY, REALLY 16:49.400 --> 16:50.266 align:left position:0%,start line:93.33% size:100% ENTHUSIASTICALLY BY OUR 16:50.266 --> 16:50.633 align:left position:0%,start line:93.33% size:100% AUDIENCE. 16:50.633 --> 16:51.533 align:left position:0%,start line:93.33% size:100% THAT GIVES US EVEN MORE 16:51.533 --> 16:53.533 align:left position:0%,start line:93.33% size:100% CONFIDENCE TO KEEP GOING. 16:53.533 --> 16:55.000 align:left position:0%,start line:93.33% size:100% AND SOMETHING JUSTIN PECK, WHO'S 16:55.000 --> 16:56.366 align:left position:0%,start line:93.33% size:100% OUR RESIDENT CHOREOGRAPHER AND 16:56.366 --> 16:59.133 align:left position:0%,start line:93.33% size:100% ALSO NOW OUR ARTISTIC ADVISER, 16:59.133 --> 17:00.933 align:left position:0%,start line:93.33% size:100% HE'S IN HIS EARLY 30s, HE'S SO 17:00.933 --> 17:03.033 align:left position:0%,start line:93.33% size:100% CONNECTED AND TUNED IN TO THE 17:03.033 --> 17:04.066 align:left position:0%,start line:93.33% size:100% LOCAL ART SCENE HERE IN NEW YORK 17:04.066 --> 17:05.866 align:left position:0%,start line:93.33% size:100% THAT HE HAS ALL THESE IDEAS OF 17:05.866 --> 17:07.866 align:left position:0%,start line:93.33% size:100% ARTISTS THAT HE CAN COLLABORATE 17:07.866 --> 17:09.100 align:left position:0%,start line:93.33% size:100% WITH, THAT HE CAN SEND THE 17:09.100 --> 17:10.733 align:left position:0%,start line:93.33% size:100% COMPANY FOR OTHER CHOREOGRAPHERS 17:10.733 --> 17:12.966 align:left position:0%,start line:93.33% size:100% TO COLLABORATE WITH. 17:12.966 --> 17:14.233 align:left position:0%,start line:93.33% size:100% >> CURRENTLY, HE'S A CREATIVE 17:14.233 --> 17:15.200 align:left position:0%,start line:93.33% size:100% CONSULTANT AND RESIDENT 17:15.200 --> 17:16.500 align:left position:0%,start line:93.33% size:100% CHOREOGRAPHER FOR NEW YORK CITY 17:16.500 --> 17:17.700 align:left position:0%,start line:93.33% size:100% BALLET, SO WE ARE SORT OF A 17:17.700 --> 17:20.600 align:left position:0%,start line:93.33% size:100% LITTLE TRIANGLE OF CONVERSATION. 17:20.600 --> 17:22.066 align:left position:0%,start line:93.33% size:100% WE TALK AMONG OURSELVES ABOUT 17:22.066 --> 17:27.800 align:left position:0%,start line:93.33% size:100% WHERE WE WANT TO GO, WHO WE 17:27.800 --> 17:28.600 align:left position:0%,start line:93.33% size:100% THINK IS INTERESTING. 17:28.600 --> 17:30.266 align:left position:0%,start line:93.33% size:100% WE GET APPROVAL FROM EACH OTHER 17:30.266 --> 17:31.100 align:left position:0%,start line:93.33% size:100% ABOUT COMMISSIONS. 17:31.100 --> 17:32.200 align:left position:0%,start line:93.33% size:100% SO IT'S ALWAYS A CONVERSATION. 17:32.200 --> 17:33.466 align:left position:0%,start line:93.33% size:100% >> WHAT DO YOU HOPE WILL BE ON 17:33.466 --> 17:35.433 align:left position:0%,start line:93.33% size:100% THE HORIZON FOR THE COMPANY THE 17:35.433 --> 17:36.100 align:left position:0%,start line:93.33% size:100% SCHOOL? 17:36.100 --> 17:39.800 align:left position:0%,start line:93.33% size:100% >> I HOPE THAT, YOU KNOW, WE CAN 17:39.800 --> 17:41.300 align:left position:0%,start line:93.33% size:100% OPEN UP FROM OUR HISTORY. 17:41.300 --> 17:44.366 align:left position:0%,start line:93.33% size:100% WE HAD A CERTAIN IDENTITY, A LOT 17:44.366 --> 17:47.033 align:left position:0%,start line:93.33% size:100% OF GOOD WAYS, BUT WE CAN DEVELOP 17:47.033 --> 17:50.500 align:left position:0%,start line:93.33% size:100% IT IN MORE BROADER WAYS. 17:50.500 --> 17:52.000 align:left position:0%,start line:93.33% size:100% DIVERSIFYING OUR SCHOOL. 17:52.000 --> 17:53.833 align:left position:0%,start line:93.33% size:100% DIVERSIFYING OUR COMPANY. 17:53.833 --> 17:55.533 align:left position:0%,start line:93.33% size:100% DIVERSIFYING THE ARTISTS WE 17:55.533 --> 17:56.533 align:left position:0%,start line:93.33% size:100% BRING IN. 17:56.533 --> 17:58.133 align:left position:0%,start line:93.33% size:100% OUR ADMINISTRATION. 17:58.133 --> 18:00.766 align:left position:0%,start line:93.33% size:100% SO REALLY THINKING ABOUT 18:00.766 --> 18:03.033 align:left position:0%,start line:93.33% size:100% OURSELVES AS CULTURAL LEADERS AS 18:03.033 --> 18:05.900 align:left position:0%,start line:93.33% size:100% WELL AS ARTISTIC LEADERS. 18:05.900 --> 18:09.633 align:left position:0%,start line:93.33% size:100% THAT'S WHAT WE TALK A LOT ABOUT. 18:09.633 --> 18:11.766 align:left position:0%,start line:93.33% size:100% SO, WE WANT TO SORT OF LEAD IN 18:11.766 --> 18:12.466 align:left position:0%,start line:93.33% size:100% THAT WAY. 18:12.466 --> 18:14.166 align:left position:0%,start line:93.33% size:100% >> AND SHARING THAT PASSION, YOU 18:14.166 --> 18:15.466 align:left position:0%,start line:93.33% size:100% KNOW, BECAUSE IT REALLY IS A 18:15.466 --> 18:15.800 align:left position:0%,start line:93.33% size:100% PASSION. 18:15.800 --> 18:17.766 align:left position:0%,start line:93.33% size:100% YOU HAVE TO BE PASSIONATE ABOUT 18:17.766 --> 18:18.066 align:left position:0%,start line:93.33% size:100% IT. 18:18.066 --> 18:20.466 align:left position:0%,start line:93.33% size:100% ONE OF THE MOST INSPIRING THIN 18:20.466 --> 18:22.600 align:left position:0%,start line:93.33% size:100% S IS SEEING THAT PASSION IN 18:22.600 --> 18:24.000 align:left position:0%,start line:93.33% size:100% SOMEONE ELSE, TOO, WHICH KEEPS 18:24.000 --> 18:25.566 align:left position:0%,start line:93.33% size:100% THAT PASSION ALIVE DEEP DOWN 18:25.566 --> 18:27.466 align:left position:0%,start line:93.33% size:100% WITHIN YOU WHEN YOU SEE IT ON 18:27.466 --> 18:29.400 align:left position:0%,start line:93.33% size:100% THE STUDENTS' FACES AND SEE IT 18:29.400 --> 18:33.366 align:left position:0%,start line:93.33% size:100% IN THE -- OUR DANCERS, WORKING 18:33.366 --> 18:34.866 align:left position:0%,start line:93.33% size:100% DAY AFTER DAY, HOUR AFTER HOUR, 18:34.866 --> 18:36.000 align:left position:0%,start line:93.33% size:100% TO GET, TO HONE THEIR CRAFT 18:36.000 --> 18:37.300 align:left position:0%,start line:93.33% size:100% BECAUSE THEY'RE PASSIONATE ABOUT 18:37.300 --> 18:37.566 align:left position:0%,start line:93.33% size:100% IT. 18:37.566 --> 18:39.766 align:left position:0%,start line:93.33% size:100% >> AND THERE'S NOTHING BETTER 18:39.766 --> 18:40.866 align:left position:0%,start line:93.33% size:100% THAN BEING INSPIRED AND 18:40.866 --> 18:42.066 align:left position:0%,start line:93.33% size:100% INSPIRING OTHER PEOPLE. 18:42.066 --> 18:43.966 align:left position:0%,start line:93.33% size:100% NOTHING BETTER THAN THAT. 18:43.966 --> 18:46.200 align:left position:0%,start line:93.33% size:100% AND THAT'S, I THINK, WHAT KEEPS 18:46.200 --> 18:47.433 align:left position:0%,start line:93.33% size:100% US EXCITED. 18:47.433 --> 18:47.966 align:left position:0%,start line:93.33% size:100% >> YEAH. 18:47.966 --> 18:52.700 align:left position:0%,start line:93.33% size:100% >> WELL, I HOPE THIS COMPANY 18:52.700 --> 18:53.400 align:left position:0%,start line:93.33% size:100% BECOMES EVERYTHING YOU WANT IT 18:53.400 --> 18:53.966 align:left position:0%,start line:93.33% size:100% TO BECOME. 18:53.966 --> 18:54.766 align:left position:0%,start line:93.33% size:100% A CONTINUED SUCCESS. 18:54.766 --> 18:55.533 align:left position:0%,start line:93.33% size:100% >> THANK YOU SO PUMP. 18:55.533 --> 18:56.366 align:left position:0%,start line:93.33% size:100% >> THANK YOU SO MUCH. 18:56.366 --> 18:57.100 align:left position:0%,start line:93.33% size:100% >> TO BOTH OF YOU. 18:57.100 --> 18:58.933 align:left position:0%,start line:93.33% size:100% IT WILL BE FUN TO ROOT YOU ON 18:58.933 --> 19:06.233 align:left position:0%,start line:93.33% size:100% FROM THE SIDELINES. 19:06.233 --> 19:16.466 align:left position:0%,start line:93.33% size:100% ♪♪ 19:16.466 --> 19:17.466 align:left position:0%,start line:93.33% size:100% >> FOR MORE INFORMATION ON 19:17.466 --> 19:19.233 align:left position:0%,start line:93.33% size:100% CULTURAL EVENTS IN OUR AREA, 19:19.233 --> 19:22.266 align:left position:0%,start line:93.33% size:100% PLEASE SIGN UP FOR OUR FREE 19:22.266 --> 19:26.133 align:left position:0%,start line:93.33% size:100% WEEKLY EMAIL AT 19:26.133 --> 19:26.633 align:left position:0%,start line:93.33% size:100% NYCARTS.ORG/EMAIL. 19:26.633 --> 19:27.766 align:left position:0%,start line:93.33% size:100% TOP FIVE PICKS WILL KEEP YOU UP 19:27.766 --> 19:30.766 align:left position:0%,start line:93.33% size:100% TO DATE ALL YEAR ROUND. 19:30.766 --> 19:32.433 align:left position:0%,start line:93.33% size:100% AND BE SURE TO CONNECT WITH "NYC 19:32.433 --> 19:33.133 align:left position:0%,start line:93.33% size:100% ARTS" ON FACEBOOK, INSTAGRAM, 19:33.133 --> 19:42.866 align:left position:0%,start line:93.33% size:100% AND TWITTER. 19:42.866 --> 19:44.566 align:left position:0%,start line:93.33% size:100% >>> NEXT, WE VISIT THE 19:44.566 --> 19:45.766 align:left position:0%,start line:93.33% size:100% METROPOLITAN MUSEUM OF ART FOR A 19:45.766 --> 19:47.433 align:left position:0%,start line:93.33% size:100% FRESH LOOK AT THE MUSEUM'S 19:47.433 --> 19:50.133 align:left position:0%,start line:93.33% size:100% COLLECTION OF POST-WAR AND 19:50.133 --> 19:54.966 align:left position:0%,start line:93.33% size:100% CONTEMPORARY ART. 19:54.966 --> 20:00.033 align:left position:0%,start line:93.33% size:100% EPIC ABSTRACTION POLLACK TO 20:00.033 --> 20:01.166 align:left position:0%,start line:93.33% size:100% HERERRA, PAINTING, SCULPTURE, 20:01.166 --> 20:02.500 align:left position:0%,start line:93.33% size:100% AND OTHER WORKS OF ART. 20:02.500 --> 20:05.633 align:left position:0%,start line:93.33% size:100% THE EXHIBIT SEEKS TO BROADEN THE 20:05.633 --> 20:06.800 align:left position:0%,start line:93.33% size:100% NARRATIVE OF ABSTRACTION 20:06.800 --> 20:08.900 align:left position:0%,start line:93.33% size:100% BRINGING TOGETHER SOME 50 WORKS 20:08.900 --> 20:09.566 align:left position:0%,start line:93.33% size:100% FROM THE MET COLLECTION. 20:09.566 --> 20:12.066 align:left position:0%,start line:93.33% size:100% REPRESENTED HERE ARE SUCH ICONIC 20:12.066 --> 20:16.933 align:left position:0%,start line:93.33% size:100% ARTISTS AS JACKSON POLLACK. 20:16.933 --> 20:18.500 align:left position:0%,start line:93.33% size:100% MARK ROSCO. 20:18.500 --> 20:20.733 align:left position:0%,start line:93.33% size:100% CARMEN HERRERA AND MARK 20:20.733 --> 20:21.766 align:left position:0%,start line:93.33% size:100% BRADFORD. 20:21.766 --> 20:24.866 align:left position:0%,start line:93.33% size:100% RANDALL, CURAOR OF MODERN AND 20:24.866 --> 20:28.233 align:left position:0%,start line:93.33% size:100% CONTEMPORARY ART AT THE MET 20:28.233 --> 20:30.033 align:left position:0%,start line:93.33% size:100% LOOKS AT A SINGLE WORK FROM THE 20:30.033 --> 20:30.500 align:left position:0%,start line:93.33% size:100% EXHIBITION. 20:30.500 --> 20:35.166 align:left position:0%,start line:93.33% size:100% ♪♪ 20:35.166 --> 20:37.566 align:left position:0%,start line:93.33% size:100% >> WE'RE LOOKING AT JACKSON 20:37.566 --> 20:39.700 align:left position:0%,start line:93.33% size:100% POLLACK'S AUTUMN RHYTHM FROM 20:39.700 --> 20:40.366 align:left position:0%,start line:93.33% size:100% 1950. 20:40.366 --> 20:44.600 align:left position:0%,start line:93.33% size:100% THE PAINTING CAME INTO THE 20:44.600 --> 20:47.333 align:left position:0%,start line:93.33% size:100% COLLECTION IN 1957 AND ONE OF 20:47.333 --> 20:48.033 align:left position:0%,start line:93.33% size:100% THE TREASURES OF THE MET'S 20:48.033 --> 20:49.066 align:left position:0%,start line:93.33% size:100% MODERN COLLECTION. 20:49.066 --> 20:50.366 align:left position:0%,start line:93.33% size:100% POLLACK IS MOST REMEMBERED AS A 20:50.366 --> 20:51.633 align:left position:0%,start line:93.33% size:100% KEY FIGURE IN AMERICAN ART OF 20:51.633 --> 20:52.266 align:left position:0%,start line:93.33% size:100% THE 20th CENTURY FOR THESE 20:52.266 --> 20:56.633 align:left position:0%,start line:93.33% size:100% LARGE-SCALE SO-CALLED DRIP 20:56.633 --> 20:57.900 align:left position:0%,start line:93.33% size:100% PAINTINGS WHICH HE STARTED TO DO 20:57.900 --> 21:00.233 align:left position:0%,start line:93.33% size:100% IN THE LATE 1940s AND INTO THE 21:00.233 --> 21:02.166 align:left position:0%,start line:93.33% size:100% EARLY 1950s. 21:02.166 --> 21:04.600 align:left position:0%,start line:93.33% size:100% THESE WORKS HAVE A GREAT SENSE 21:04.600 --> 21:06.966 align:left position:0%,start line:93.33% size:100% OF IMMEDIACY FOR A RANGE OF 21:06.966 --> 21:07.633 align:left position:0%,start line:93.33% size:100% REASONS. 21:07.633 --> 21:09.200 align:left position:0%,start line:93.33% size:100% ONE IS THAT THEY'RE LARGE WHICH 21:09.200 --> 21:10.400 align:left position:0%,start line:93.33% size:100% RELATIVE TO YOUR OWN SCALE MAKES 21:10.400 --> 21:11.100 align:left position:0%,start line:93.33% size:100% YOU FEEL A LITTLE BIT SMALL BY 21:11.100 --> 21:13.233 align:left position:0%,start line:93.33% size:100% COMPARISON. 21:13.233 --> 21:15.200 align:left position:0%,start line:93.33% size:100% ONE OF THE WAYS IN WHICH POLLACK 21:15.200 --> 21:16.833 align:left position:0%,start line:93.33% size:100% PLAYED A KEY ROLE IN CHANGING 21:16.833 --> 21:18.800 align:left position:0%,start line:93.33% size:100% THE VERY CONCEPT OF PAINTING IS 21:18.800 --> 21:21.066 align:left position:0%,start line:93.33% size:100% THAT HE MOVED THE CANVAS FROM 21:21.066 --> 21:22.566 align:left position:0%,start line:93.33% size:100% THE EASEL TO THE FLOOR. 21:22.566 --> 21:26.100 align:left position:0%,start line:93.33% size:100% AND HE ALSO BEGAN WORKING WITH 21:26.100 --> 21:28.500 align:left position:0%,start line:93.33% size:100% COMMON HOUSEHOLD ENAMEL PAINT. 21:28.500 --> 21:31.933 align:left position:0%,start line:93.33% size:100% HE LIKED THIS PAINT BECAUSE IT 21:31.933 --> 21:33.966 align:left position:0%,start line:93.33% size:100% WAS VERY VISCOUS SO IT'S THE 21:33.966 --> 21:35.800 align:left position:0%,start line:93.33% size:100% KIND OF PAINT THAT YOU CAN THROW 21:35.800 --> 21:36.733 align:left position:0%,start line:93.33% size:100% AND CREATES THESE DYNAMIC DRIPS 21:36.733 --> 21:42.933 align:left position:0%,start line:93.33% size:100% AND DRIBBLES AND THESE WHIPS OF 21:42.933 --> 21:44.966 align:left position:0%,start line:93.33% size:100% PAINT THAT SEEM TO BE CAPTURED 21:44.966 --> 21:46.100 align:left position:0%,start line:93.33% size:100% IN SPACE ON THE PICTURE. 21:46.100 --> 21:48.533 align:left position:0%,start line:93.33% size:100% IN THE CASE OF "AUTUMN RHYTHM" 21:48.533 --> 21:51.666 align:left position:0%,start line:93.33% size:100% SOME OF THE PAINT IS THIN AND 21:51.666 --> 21:52.633 align:left position:0%,start line:93.33% size:100% ELEGANT AND QUITE GRACEFUL 21:52.633 --> 21:54.066 align:left position:0%,start line:93.33% size:100% WHEREAS OTHER PASSAGES ARE DENSE 21:54.066 --> 21:57.200 align:left position:0%,start line:93.33% size:100% AND MORE AGGRESSIVE AND THICKER. 21:57.200 --> 22:01.166 align:left position:0%,start line:93.33% size:100% THERE ARE PASSAGES ALSO OF 22:01.166 --> 22:02.233 align:left position:0%,start line:93.33% size:100% IMPASTO WHERE HE'S USED PART OF 22:02.233 --> 22:04.366 align:left position:0%,start line:93.33% size:100% THE ENAMEL PAINT THAT HAVE DRIED 22:04.366 --> 22:06.200 align:left position:0%,start line:93.33% size:100% AND CREATED A KIND OF SKIN. 22:06.200 --> 22:09.866 align:left position:0%,start line:93.33% size:100% A THREE-DIMENSIONALITY ON THE 22:09.866 --> 22:11.400 align:left position:0%,start line:93.33% size:100% PICTURE EVEN AS THE PAINT 22:11.400 --> 22:13.500 align:left position:0%,start line:93.33% size:100% REGISTERS AS FLAT. 22:13.500 --> 22:16.066 align:left position:0%,start line:93.33% size:100% WHEN PEOPLE FIRST ENCOUNTER 22:16.066 --> 22:17.266 align:left position:0%,start line:93.33% size:100% POLLACK'S WORK, THEY SEE IT AS 22:17.266 --> 22:19.366 align:left position:0%,start line:93.33% size:100% FULLY INTUITIVE, 22:19.366 --> 22:20.033 align:left position:0%,start line:93.33% size:100% IMPROVISATIONAL, WITHOUT ANY 22:20.033 --> 22:22.000 align:left position:0%,start line:93.33% size:100% KIND OF PLAN OR GUIDING 22:22.000 --> 22:24.800 align:left position:0%,start line:93.33% size:100% PRINCIPLE. 22:24.800 --> 22:27.500 align:left position:0%,start line:93.33% size:100% IN FACT, AS YOU LOOK AT MULTIPLE 22:27.500 --> 22:29.266 align:left position:0%,start line:93.33% size:100% WORKS BY POLLACK, YOU CAN SEE 22:29.266 --> 22:34.733 align:left position:0%,start line:93.33% size:100% EACH CANVAS IS DISTINCT AND 22:34.733 --> 22:36.133 align:left position:0%,start line:93.33% size:100% DIFFERENT FROM ANOTHER. 22:36.133 --> 22:37.800 align:left position:0%,start line:93.33% size:100% IF YOU LOOK CLOSELY "AT AUTUMN 22:37.800 --> 22:38.700 align:left position:0%,start line:93.33% size:100% RHYTHM," TO THE RIGHT OF 22:38.700 --> 22:39.966 align:left position:0%,start line:93.33% size:100% SEPTEMBER AND TOWARD THE BOTTOM 22:39.966 --> 22:41.000 align:left position:0%,start line:93.33% size:100% AS WE SEE IT ON THE WALL, 22:41.000 --> 22:41.700 align:left position:0%,start line:93.33% size:100% THERE'S A LITTLE FLICK OF RED 22:41.700 --> 22:42.000 align:left position:0%,start line:93.33% size:100% PAINT. 22:42.000 --> 22:48.966 align:left position:0%,start line:93.33% size:100% A LITTLE DEVELOP OF RED PAINT. 22:48.966 --> 22:50.533 align:left position:0%,start line:93.33% size:100% ONCE YOU SEE IT, YOU CAN'T UNSEE 22:50.533 --> 22:53.166 align:left position:0%,start line:93.33% size:100% IT BECAUSE IT SEEMS SO 22:53.166 --> 22:53.533 align:left position:0%,start line:93.33% size:100% ANOMALOUS. 22:53.533 --> 22:55.133 align:left position:0%,start line:93.33% size:100% ONE WONDERFUL THING ABOUT 22:55.133 --> 22:56.266 align:left position:0%,start line:93.33% size:100% POLLACK'S TECHNIQUE IS THIS 22:56.266 --> 22:57.233 align:left position:0%,start line:93.33% size:100% EMBRACE OF ACCIDENT AND EMBRACE 22:57.233 --> 23:01.066 align:left position:0%,start line:93.33% size:100% OF THE EFFECTS OF CHANCE. 23:01.066 --> 23:06.066 align:left position:0%,start line:93.33% size:100% THE TITLE, AUTUMN RHYTHM, THE 23:06.066 --> 23:08.600 align:left position:0%,start line:93.33% size:100% WORD, RHYTHM, TIES TO THE RHYTHM 23:08.600 --> 23:12.633 align:left position:0%,start line:93.33% size:100% AND CADENCE THAT'S PART AND 23:12.633 --> 23:14.966 align:left position:0%,start line:93.33% size:100% PARCEL OF HIS GESTURAL PAINTING 23:14.966 --> 23:15.266 align:left position:0%,start line:93.33% size:100% STYLE. 23:15.266 --> 23:16.533 align:left position:0%,start line:93.33% size:100% THIS GREAT SENSE OF GROWTH AND 23:16.533 --> 23:17.600 align:left position:0%,start line:93.33% size:100% EVOLUTION IN A WAY TIES TO THE 23:17.600 --> 23:18.966 align:left position:0%,start line:93.33% size:100% CHANGE OF SEASONS AND THE EBBS 23:18.966 --> 23:20.866 align:left position:0%,start line:93.33% size:100% AND FLOWS OF NATURE IN THE 23:20.866 --> 23:24.533 align:left position:0%,start line:93.33% size:100% COURSE OF A YEAR. 23:24.533 --> 23:34.100 align:left position:0%,start line:93.33% size:100% ♪♪ 23:34.100 --> 23:40.866 align:left position:0%,start line:93.33% size:100% ♪♪ 23:40.866 --> 23:42.866 align:left position:0%,start line:93.33% size:100% >>> HELLO, I'M RAFAEL. 23:42.866 --> 23:44.100 align:left position:0%,start line:93.33% size:100% WELCOME TO LINCOLN CENTER. 23:44.100 --> 23:46.533 align:left position:0%,start line:93.33% size:100% ON SEPTEMBER 17th, NEW YORK CITY 23:46.533 --> 23:49.066 align:left position:0%,start line:93.33% size:100% BALLET WILL OPEN ITS FALL SEASON 23:49.066 --> 23:51.633 align:left position:0%,start line:93.33% size:100% WITH GEORGE BALANCHIN'S 23:51.633 --> 23:53.766 align:left position:0%,start line:93.33% size:100% FULL-LENGTH PRESENTATION OF 23:53.766 --> 23:54.133 align:left position:0%,start line:93.33% size:100% "JEWELS." 23:54.133 --> 23:55.066 align:left position:0%,start line:93.33% size:100% THE PROGRAM OF PERFORMANCES WILL 23:55.066 --> 23:58.700 align:left position:0%,start line:93.33% size:100% TAKE PLACE OVER FOUR WEEKS AT 23:58.700 --> 24:00.733 align:left position:0%,start line:93.33% size:100% THE DAVID H. COKE THEATER. 24:00.733 --> 24:03.066 align:left position:0%,start line:93.33% size:100% OTHER HIGHLIGHT INCLUDE THE 24:03.066 --> 24:05.433 align:left position:0%,start line:93.33% size:100% COMPANY'S FALL FASHION GALA 24:05.433 --> 24:09.200 align:left position:0%,start line:93.33% size:100% WHICH WILL FEATURE PREMIERES. 24:09.200 --> 24:11.333 align:left position:0%,start line:93.33% size:100% BALANCHIN'S SERENADE. 24:11.333 --> 24:13.000 align:left position:0%,start line:93.33% size:100% JEROME ROBINS DANCES A THE A 24:13.000 --> 24:13.866 align:left position:0%,start line:93.33% size:100% GATHERING. 24:13.866 --> 24:15.533 align:left position:0%,start line:93.33% size:100% JUSTIN PECK'S "EVERYWHERE WE 24:15.533 --> 24:16.000 align:left position:0%,start line:93.33% size:100% GO." 24:16.000 --> 24:17.666 align:left position:0%,start line:93.33% size:100% FOR COMPLETE DETAILS, PLEASE 24:17.666 --> 24:21.233 align:left position:0%,start line:93.33% size:100% VISIT NYCBALLET.COM AND FOR EVEN 24:21.233 --> 24:22.300 align:left position:0%,start line:93.33% size:100% MORE INFORMATION ABOUT MUSIC, 24:22.300 --> 24:24.900 align:left position:0%,start line:93.33% size:100% DANCE, THEATER, OPERA, AND FILM 24:24.900 --> 24:27.200 align:left position:0%,start line:93.33% size:100% HERE AT LINCOLN CENTER, VISIT 24:27.200 --> 24:30.233 align:left position:0%,start line:93.33% size:100% THEIR WEBSITE AT 24:30.233 --> 24:35.233 align:left position:0%,start line:93.33% size:100% LINCOLNCENTER.ORG. 24:35.233 --> 24:37.433 align:left position:0%,start line:93.33% size:100% >> THANKS FOR JOINING US THIS 24:37.433 --> 24:38.100 align:left position:0%,start line:93.33% size:100% EVENING. 24:38.100 --> 24:42.233 align:left position:0%,start line:93.33% size:100% I'M PAULA ZAHN AT THE TISH WNET 24:42.233 --> 24:43.633 align:left position:0%,start line:93.33% size:100% STUDIOS AT LINCOLN CENTER. 24:43.633 --> 24:45.666 align:left position:0%,start line:93.33% size:100% GOOD NIGHT. 24:45.666 --> 24:46.366 align:left position:0%,start line:93.33% size:100% >>> NEXT WEEK ON "NYC ARTS," A 24:46.366 --> 24:49.533 align:left position:0%,start line:93.33% size:100% CONVERSATION WITH MAESTRO 24:49.533 --> 24:51.466 align:left position:0%,start line:93.33% size:100% SWAYDEN OF THE NEW YORK 24:51.466 --> 24:52.466 align:left position:0%,start line:93.33% size:100% PHILHARMONIC ABOUT THE DEEP 24:52.466 --> 24:54.366 align:left position:0%,start line:93.33% size:100% ROOTS OF HIS LOVE FOR MUSIC AND 24:54.366 --> 24:55.833 align:left position:0%,start line:93.33% size:100% THE NEW SEASON WITH THE 24:55.833 --> 24:58.333 align:left position:0%,start line:93.33% size:100% ORCHESTRA. 24:58.333 --> 25:00.600 align:left position:0%,start line:93.33% size:100% >> WE GOT AN INVITATION FROM 25:00.600 --> 25:01.133 align:left position:0%,start line:93.33% size:100% AMSTERDAM, ACTUALLY. 25:01.133 --> 25:04.400 align:left position:0%,start line:93.33% size:100% EVERY 25 YEARS THEY HAVE A BIG 25:04.400 --> 25:05.033 align:left position:0%,start line:93.33% size:100% FESTIVAL CELEBRATING. 25:05.033 --> 25:07.966 align:left position:0%,start line:93.33% size:100% FOR THE FIRST TIME, IN MAY 2020, 25:07.966 --> 25:11.833 align:left position:0%,start line:93.33% size:100% WE ARE GOING TO AMSTERDAM AND TO 25:11.833 --> 25:15.166 align:left position:0%,start line:93.33% size:100% BE ALSO PART OF THAT REALLY 25:15.166 --> 25:16.033 align:left position:0%,start line:93.33% size:100% GREAT ORCHESTRA. 25:16.033 --> 25:19.700 align:left position:0%,start line:93.33% size:100% ♪♪ 25:19.700 --> 25:23.466 align:left position:0%,start line:93.33% size:100% >>> AND A LOOK AT ARTIST, 25:23.466 --> 25:25.100 align:left position:0%,start line:93.33% size:100% ARMENGANI'S "BRIDGE OVER TREE." 25:25.100 --> 25:25.900 align:left position:0%,start line:93.33% size:100% A PUBLIC ART INSTALLATION IN 25:25.900 --> 25:28.000 align:left position:0%,start line:93.33% size:100% BROOKLYN BRIDGE PARK. 25:28.000 --> 25:31.466 align:left position:0%,start line:93.33% size:100% >> WHAT CAN A BRIDGE MEAN WHEN 25:31.466 --> 25:34.133 align:left position:0%,start line:93.33% size:100% IT IS SPLIT FROM ITS FUNCTIONAL 25:34.133 --> 25:34.466 align:left position:0%,start line:93.33% size:100% PURPOSE? 25:34.466 --> 25:37.066 align:left position:0%,start line:93.33% size:100% ONE ANALOGY CAN BE DRAWN TO THE 25:37.066 --> 25:40.066 align:left position:0%,start line:93.33% size:100% IDEA OF RESPECT FOR NATURE. 25:40.066 --> 25:42.533 align:left position:0%,start line:93.33% size:100% THAT THIS BRIDGE DOESN'T RUN 25:42.533 --> 25:43.266 align:left position:0%,start line:93.33% size:100% OVER THE TREE. 25:43.266 --> 25:43.966 align:left position:0%,start line:93.33% size:100% YOU KNOW, IT BRIDGES OVER THE 25:43.966 --> 25:45.633 align:left position:0%,start line:93.33% size:100% TREE. 25:45.633 --> 25:53.366 align:left position:0%,start line:93.33% size:100% AND KIND OF RESPECTS IT AS A 25:53.366 --> 25:57.366 align:left position:0%,start line:93.33% size:100% FORM. 25:57.366 --> 26:28.500 align:left position:0%,start line:93.33% size:100% ♪♪ 26:28.500 --> 26:30.366 align:left position:0%,start line:93.33% size:100% >> FUNDING FOR "NYC ARTS" IS 26:30.366 --> 26:32.166 align:left position:0%,start line:93.33% size:100% MADE POSSIBLE BY -- ROSALIND P. 26:32.166 --> 26:34.800 align:left position:0%,start line:93.33% size:100% WALTER. 26:34.800 --> 26:35.466 align:left position:0%,start line:93.33% size:100% THE THEA PETSCHEK IERVOLINO 26:35.466 --> 26:36.366 align:left position:0%,start line:93.33% size:100% FOUNDATION. 26:36.366 --> 26:37.400 align:left position:0%,start line:93.33% size:100% THE LEWIS SONNY TURNER FUND FOR 26:37.400 --> 26:42.466 align:left position:0%,start line:93.33% size:100% DANCE. 26:42.466 --> 26:44.233 align:left position:0%,start line:93.33% size:100% JODY AND JOHN ARNHOLD. 26:44.233 --> 26:46.166 align:left position:0%,start line:93.33% size:100% KATE CASSIDY FOUNDATION. 26:46.166 --> 26:50.566 align:left position:0%,start line:93.33% size:100% ELISE JAFFRAY AND JEFFREY BROWN. 26:50.566 --> 26:51.200 align:left position:0%,start line:93.33% size:100% ELROY AND TERRY KRUMHOLTZ 26:51.200 --> 26:54.800 align:left position:0%,start line:93.33% size:100% FOUNDATION. 26:54.800 --> 26:58.400 align:left position:0%,start line:93.33% size:100% GENE DUBINSKY APPLETON ES SKATE. 26:58.400 --> 27:01.333 align:left position:0%,start line:93.33% size:100% THE MILTON AND SALARY AVERY ARTS 27:01.333 --> 27:01.733 align:left position:0%,start line:93.33% size:100% FOUNDATION. 27:01.733 --> 27:03.400 align:left position:0%,start line:93.33% size:100% AND ELLEN AND JAMES S. MARCUS. 27:03.400 --> 27:04.900 align:left position:0%,start line:93.33% size:100% ADDITIONAL FUNDING PROVIDED BY 27:04.900 --> 27:07.566 align:left position:0%,start line:93.33% size:100% MEMBERS OF THIRTEEN. 27:07.566 --> 27:08.366 align:left position:0%,start line:93.33% size:100% "NYC ARTS" IS MADE POSSIBLE IN 27:08.366 --> 27:11.500 align:left position:0%,start line:93.33% size:100% PART BY FIRST REPUBLIC BANK. 27:11.500 --> 27:13.566 align:left position:0%,start line:93.33% size:100% >> FIRST REPUBLIC BANK PRESENTS 27:13.566 --> 27:15.366 align:left position:0%,start line:93.33% size:100% FIRST THINGS FIRST. 27:15.366 --> 27:17.366 align:left position:0%,start line:93.33% size:100% AT FIRST REPUBLIC BANK, FIRST 27:17.366 --> 27:19.000 align:left position:0%,start line:93.33% size:100% REFERS TO OUR FIRST PRIORITY. 27:19.000 --> 27:19.733 align:left position:0%,start line:93.33% size:100% THE CLIENTS WHO WALK THROUGH OUR 27:19.733 --> 27:21.266 align:left position:0%,start line:93.33% size:100% DOORS. 27:21.266 --> 27:24.233 align:left position:0%,start line:93.33% size:100% THE FIRST STEP, RECOGNIZE THAT 27:24.233 --> 27:25.766 align:left position:0%,start line:93.33% size:100% EVERY CLIENT IS AN INDIVIDUAL 27:25.766 --> 27:28.100 align:left position:0%,start line:93.33% size:100% WITH UNIQUE NEEDS. 27:28.100 --> 27:29.400 align:left position:0%,start line:93.33% size:100% FIRST DECREE. 27:29.400 --> 27:31.033 align:left position:0%,start line:93.33% size:100% BE A BANK WHOSE CURRENCY IS 27:31.033 --> 27:31.366 align:left position:0%,start line:93.33% size:100% SERVICE. 27:31.366 --> 27:34.033 align:left position:0%,start line:93.33% size:100% IN THE FORM OF PERSONAL BANKING. 27:34.033 --> 27:35.400 align:left position:0%,start line:93.33% size:100% THIS WAS FIRST REPUBLIC'S 27:35.400 --> 27:37.566 align:left position:0%,start line:93.33% size:100% MISSION FROM OUR VERY FIRST DAY. 27:37.566 --> 27:38.633 align:left position:0%,start line:93.33% size:100% IT'S STILL THE FIRST THING ON 27:38.266 --> 27:38.633 align:left position:0%,start line:93.33% size:100% OUR MINDS.