b'DIRECTOR INTERVIEWS U.S.his own imagination, and I supplied, you know, the drama the knifePaul McCartney, Giraldi, Linda McCartney andfighting and tying of the wrists andMichael Jackson on the set of Say Say Sayall the bullshit that goes along with It has been well documented thathow directors work with you had real gang members, and itchoreographers.was something Michael wanted. WithLove is a Battle ield for Pat everything going on and youve gotBenatar was your next video. L.A. gang members there, was there That video has a lot of heart to it, a moment where you just thought, but were you worried about What have I gotten myself into? dropping a dance number into a Absolutely. I had that moment,video for a performer not known which has not happened many timesfor dancing?over the forty years or so that I haveWell, I dont know that I was directed, but yes, without question. Itnervous, plus in those days I was was the most heightened moment whenso full of myself that I never got I said to myself, Self, what the fucknervous about that kind of thing. In am I doing here in the middle of themy mind, it was up to Pat to do barrio in Los Angeles, surrounded bywhat I wanted her to do. Shed gang members, screaming and yellinglearn to be Twyla Tharp if I asked at each other, and this thing slowlyher. Actually, Pat did a very nice getting away from me, cops up my ass,job. She was just surrounded by telling me that I cant continue, that itssome kick-ass female dancers. too dangerous, why dont I quietly getabove & below directing Pat Benatar on Love is a Battlefield Thats still one of my favorite dance into my car and go home? Nobody willSo, we got high together, and he asked know or care! And of course, my lifeme not to put him up against Michael would have been different, and historyJackson to dance, knowing that he would have been different, althoughcouldnt compete with Michael in Michael would have been a superstar,the arena of dance. By this time, Im no question, but I wouldve missed outwasted, and in the John-and-Paul on a lot of fun.Beatle thing, Im a Paul fan. I said I In your commercial work, howwould never do anything that would much shooting with dance had youembarrass you. Funny thing is, the done prior to Beat It? a laugh with Lionel next day when we shot, he ended up I did Dr. Pepper commercialswanting to go onstage with Michael, (singing) Im a pepper, youre a pepper,and he kicked ass. hes a pepper, shes a pepperAnd IOnce while we were preparing, did A Chorus Line commercial. I cameLionel laughed and said, wow these to meet Michael Peters because heideas youre coming up with have was the associate choreographerTalking with Lionel Richie on thenothing to do with the script and the on Dreamgirls, for which I also did aset of Running with the Night lyrics I wrote. I said, I know that Rich, commercial. Suddenly, people startedbut if you want me to come up with to think that Bob had rhythm, butnumbers. It\'s my second favorite dancethe idea, Ill come up with the idea. Bob cant dance a lickbut Bob cannumber, when they storm out of that dime- But if not, you come up with an idea. shoot! Then when I got the video bug,directing John Oates in Hall & Oatesa-dance and into the street. Meanwhile, lets head back in, and start and I started off with Beat It, I called"Possession Obsession"Soon, you were very busy directing arehearsing again because youll look choreographer Michael Peters and said, Hey Im going to explore this new form.lot of music videos for major artists. Paul McCartneylike a fool up there who cant dance if Right, and it was with people whoyou dont. If you want to come with me, Ill seecouldnt dance, you know. Michael Peterscame to me. We f ewAs I understand it, you were a bit what we can put together, and he was brilliant. I miss him, and his place in theis really quite good taking novicesLionel,a few times back andfrustrated and went a little back and Pat, and even Paul McCartney, I believe forth on MTVs treatment of black history of video art is just secure. and making them look like credible dancers.forth on theartists.Back to the video, after the moment you decide not to abandonPaul McCartney came to me. We flew aConcorde. He wouldWell, yeah. I think you can say few times back and forth on the Concorde.that. I dont know about frustrated. It the whole thing, there is anotherHe would spare no expense if he thoughtspare no expense ifreally wasnt my place to tell them what moment, when things really start falling into place. True? it helped a creative process. We came uphe thought it helped ato play. Um, I was angry angrier with the Mack & Jack Show, from anotherbecause I thought they were acting Yes. For whatever reason weera, but with wardrobe by Versace. Thatcreative process. Weracist more than anything, and a lot my directors bully through, so I stayed instead of leaving, and then like magic,blue sweater and hat looked great oncame up with thework was going to hang in the balance, Michael. And its a romp, they get the girl,but they were strong-armed pretty like The Wizard of Oz when black andand they get away, what have you. But myMack & Jack Show,quickly. white turns to color, it just happened. It happened when we danced. Whenfondest memory is from when Paul and Ifrom another era, butBy the time youve gotten to met out in California for the shoot, and I canRunning with the Night and I was rolling, and it was rocking, andtell this story now. We shot out in Californiawith wardrobe byHello, which is actually February Michael was dancing, and Michaelsome sanity, and we knew we had something. You just have to sit and watch, and if Peters and Vince Patterson wereyou watch it again, especially watch Michael Peters. Thats dancing. I think Im right inin the Santa Inez Valley, a beautiful areaVersace.of 1984, did you already feel that it dancing and squaring off and thethinking its the only time that anybody ever had Michael Jackson dance theirof the valley, and Paul had rented a home,was a different ball game, even one cameras are rolling and dollying itchoreography. This was staged and choreographed, so we watched Michael Petersand we met there. He wanted to go foryear later?brought the house into one unit. It tooklay it out. Of course, Michael put the moonwalk and his own moves and style into it,a walk, so he took me for a walk in theOh, you knew it was a different ball a fractured set and brought it back tomaking it spectacular, but it was choreographed by Michael Peters. It was his dancing,woods. And we stopped about 4 oclock,game. The Brits were in it heavy. We and at 4 oclock, Paul always rolls a joint.had competition between the American 30MVTMISSUE #1 ISSUE #1MVTM31'