As a director and choreographer, Vincent Paterson created many iconic works for Madonna and Michael Jackson, including Madonna’s 1990 BLOND AMBITION TOUR (on which the film TRUTH OR DARE is based), her unforgettable Marie Antoinette performance for the MTV VMAs, and the choreography for her videos VOGUE and EXPRESS YOURSELF. For Michael Jackson, with whom he worked for over 15 years, Vincent created SMOOTH CRIMINAL, the BAD TOUR (1987-89) and BLOOD ON THE DANCE FLOOR, and multiple other Jackson music videos and live performances, from the Grammys to the Super Bowl Halftime Show.
Paterson’s film work includes direction and choreography for the musical sequences in Lars Von Trier’s film DANCER IN THE DARK starring Bjork (2000), winner of the Palme d’Or at the Cannes Film Festival. Paterson also created Robin Williams’ iconic “Martha Graham” routine in THE BIRDCAGE, Madonna and Antonio Banderas’ tango in EVITA for director Alan Parker, and HOOK for Steven Spielberg.
On Broadway he received a Tony nomination for Best Choreography for KISS OF THE SPIDER WOMAN with Chita Rivera. Vincent was the director, writer, and co-choreographer of Cirque du Soleil’s, VIVA! ELVIS in Las Vegas, which ran over 1,000 performances.
In his new memoir, ICONS AND INSTINCTS Vincent takes readers into the rehearsal room and behind the camera, for all the tales surrounding these iconic collaborations. Mr n Mister chatted with the man behind the thrown.
Of all the visionary’s that you have worked with, who have you learnt the most from?
I think that I am a perpetual student. So if I don’t think that I am going to learn something from an experience, then I usually don’t get involved. I’ve learned something from everyone who I’ve worked with. From Michael Jackson, I learnt the importance of being polite. From Madonna, I learnt about being specific. From Bjork, I learnt how to create with abandonment. With Lars Von Trier, I learnt how to create without censoring myself. I hope I continue to learn from every single person I enter into a creative situation with. That’s part of my joy!
Describe the typical creative process for your choreography & direction?
Music really tells you what it wants to be. Michael Jackson once told me “Never try to put an idea on the music, let the music talk to you.” I listen to the music, like a hundred times. Once I get a few ideas, I go into the studio & play around with them. The majority of my work is narrative. I like the idea of storytelling, either abstract or specific. I also try to include a sense of humour & sensuality. If I’m working as a director, I don’t have to answer to anyone but the artist. If I’m choreographer, then I have to try & get into the directors head, so I can fully understand his vision. I look at myself as an extension of his creativity.
What music usually gets your creative juices flowing?
Everything from Opera to Snoop Dogg & Eminem! I remember when I choreographed the ‘Blond Ambition’ tour for Madonna. It was before World music had taken hold. I had been listening to Ofra Haza, who does this amazing Middle Eastern stuff with a funky beat. I told Madonna that I’d like to use a sense of this for ‘Like A Virgin’. She was like “Cool! No one else has done this yet, so let’s try it.” So just by exposing yourself to other types of music, you never know when you can employ it in another area. Madonna always tries to do something that she hasn’t done before. I love her presence & her sense of art.
What are the major differences between choreographing for a live audience & for the camera?
When I’m choreographing for camera, I have to be aware of the different ways that things can be shot. Seeing things from different angles & perspectives that might have more of a dynamic power. When you’re choreographing for stage, everything is seen fairly flat & from the front, so you don’t have as many options. The main difference is the versatility that you have with cameras.
What advice would you give to the next generation of artists – the aspiring artists, dancers, choreographers & directors?
Explore… don’t get locked into any one dance form. Fads change quickly. What good is it if all that you can play on your guitar is Rock n Roll? Expand, be open & don’t pigeon hole yourself because everyone else is out there to pigeon hole you already. You need to have as broad an education & knowledge of dance styles as you can. For my dancers, technique is important. I know then that I have the flexibility of doing anything I want. I also like individuality. Someone who can show me who they are. If I find that the person has a good heart & is going to be interesting to have on board… that’s so important in a work environment.
Did you realise whilst you were working on projects like ‘Smooth Criminal’ & ‘Blond Ambition’, that you were creating a piece of history?
There are certain projects that you get, that you kind of get a feeling that it’s something really special. Some little tingling thing that would constantly go on. It didn’t affect anything, but it made you say thank you & feel happy you could be a part of it. If other people get it… man, that’s icing on the cake! I feel honoured & grateful that these incredible people believed in me & gave me the opportunity to explore my artistic voice. I’m always grateful for that.
ICONS AND INSTINCTS is available now.
