this creative adventure is led by choreographer richard segal. play the dance studio is nightshade behind a gas station in the middle of an industrial area the dent. know each other some of them may want to project was in the development stage others have danced on stage with siegel he is. the beginning was incredible when he came on the music loud on all the n.f.c. if they felt. their energy is contagious i think they're amazing. the. choreography is done and redone and redone and we got it redone it's a volatile art form and at times it's useful. to still release some kind of latent energy which may still exist within the world. we have this downs that's choreographed we can teach parts of we can modify parts of that but it shouldn't it's not just in one direction that's what i'm what i'm saying the important thing is exactly what just happened when we walked into the room and you guys were dancing and the music was good and we started going and everybody just started dancing and now i'm a sweaty mess. that's exactly. what we came for we have.

another scene george segal poinsettia painting on the wall and says, who did that painting? and richardn hands it to them. when we watch that scene our eyes follow the line of george segal's hand until we see the painting. then arise go over to richard burton's eyes and get the answer. then arise come back to george segal to see how he reacts to the answer. we form a triangle really quick in a millisecond. what is peter do? he's listening to me is watching, he hears, who did that painting? painting he doesn't follow the line of the finger of george segal's finger because he can't make sense of his gesture. hit this gesture means nothing to someone who can't read minds. to know what i'm pointing at and why am pointing at you have to be able to inhabit my mind for that moment. it was a why would malcolm do that what's the purpose of that? peter can't do that. all he has is the information who did the painting come he looks at the wall where the painting is but there's three paintings on the walls, not one.what peter does is go back and forth frantically among all the paintings trying to f

segal's hand to the painting. then her eyes go over to richard burton eyes, and then they come back to george segal to see how he reacts to the answer, really quick in a millisecond, boom, boom, boom. what does peter do? he is listening, watching, he painting,id that painting't because he cannot mae sense of the gesture, it means nothing to someone who cannot readne minds to know what i'm pointing at ny and pointing at, have to be i be able to inhabity mind, why would malcolm do that, what is the purpose, peter cannotas do that, all he has is information, who did the painting, he looks at the wall with where the painting is but there's three paintings on the wall, what peter does he's going back and forth among all these paintings trying to figure out which paintings, meanwhile the conversation is already moved on,is he missed the whole meanig of the particular encounter. there is another more poignant scene where elizabeth taylor was flirting with george segal. same flirting going on and richard burton is getting angrier and more jealous. . . . ool to look at the way normal viewers look at scenes because you doing the