Here's the translation for the first section:
MF: In fact my first reaction was, well they’ll find another choreographer, if they want to do MR or Roxanne for me, it had already been done.
P: In an Olympic year we look for the perfect music, with Roxanne they were starting with a less original level.
MF: I continued to reflect that if they were really set on that music, we would do some workshops on the piece and see the outcome.
P: they were so, so certain of their choice that I didn’t hesitate for long once we put the music on the ice, made them skate to it, they improvised … (sorry can’t make this out)
MF: I called Samuel Chouinard and said now I have a project for you. I wanted something contemporary for the tango. Once I saw what Samuel could do off ice for this traditional piece, I said OK, now we have something. He brings a touch of modernism to skating. It could become severe (?) if we don’t make the effort to push it to what’s in now in dance.
SCL what differentiates me from other choreographers in skating today is that I’m not a skate. When I propose ideas to the skaters, they are OK, didn’t think this was something we could do. I’m like go try it, we’ll push the limits by trying different things.
Btw I agree with Sonata about the billiard room. It felt a metaphor to me too. exactly that - aim and strategy. The faceless scene could also just mean we focus more on the importance of words/explanation rather than the person .
