— I have a good trait—I know how to disconnect from all of it. I don’t read the news, I don’t spend time on social media, and I try to focus on our work without looking at our competitors or anyone else. I know that we can skate well, perform elements at a high level, and with good quality. The goal is to prepare for the Olympics, and so far, everything is going according to plan.
— At the beginning of the season, was there a moment that was, let’s say, nerve-wracking? Maybe a competition that caused concern?
— There was such a moment. We decided to try a new style in our short program. Before that, we skated to lyrical pieces, which are easier in terms of breathing, and you just flow with the music. That style also suited my partner—she had always skated to that kind of music. After Art on Ice, where we performed a blues, our choreographer said that this style suits us very well.
We presented this concept during test skates. The feedback was that the idea was good, but we hadn’t yet managed to fully convey the depth of such a relationship on the ice. After that, the federation helped us: we found a dance coach who worked specifically on the short program with us for two months. By the first competition, we were much better prepared, and the judges noticed it right away. Now we continue working with this dance choreographer and spend five hours every Saturday on choreography—on the floor, on the ice, and even at the barre. It’s paying off, and we’re very happy with the results. But in Grenoble, about 40% of our free skate still didn’t come together as planned.