I was always interested in choreography - in making people think and feel something.
War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
Don't get confused; doing choreography in the ring can be done by anyone. I take the guy who works in the gas station on the corner, and I teach him a choreography for a week, and I swear he can do it in a ring.
Putting yourself in the ring to wrestle - create those emotions, ups and downs within the match - one moment dominates the one, and one moment dominates the other, and without having created a choreography, that is the real wrestling.
I've got so many dance heroes, and it's such a cliche, but how can I not say Michael Jackson? Michael Jackson, Janet Jackson, Paula Abdul - they are the people I remember when I was a little girl, watching their videos and trying to learn all the choreography.
A good dancer is not necessarily defined by great technique, skill, or ability to pick up choreography but by confidence. When you feel the music, it penetrates to your soul. Everybody's a dancer. The greatest dancer is someone who is willing to dance, not afraid.
The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.
To make it more familiar to me, I ended up treating my swordplay scenes like choreography. So it was, 'One and two and three and four and five, and turn and step and down and up and lunge.'
There are a lot of similarities between dancing and wrestling. The costumes are the same, the spandex and all that, but you have to be light on your feet to do both, and you have to remember choreography.