Dance for your Life: Behind the Scenes with Producers of the New Movie

Hello friends, I'm Amanda Barr and I'm Rebecca Lou Brennan, and welcome to Dance Principles United, the podcast.

Together we are passionate about helping studio owners with the business of running their studio.

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This is the Dance Principles United podcast. Hey friends, and welcome to another episode of Dance Principals United podcast. We have such a special episode for you today. I am so excited to welcome our guests Jade Barnes and Lucas Newland. Hey guys.

Hey.

Yeah, so excited to have you both. Movie is coming soon. That is so exciting. Dance for Your Life is going to be on our screens. What date?

April 2nd is our big date. Luckily not April Fool's Day. The day after. April 2nd.

That is exciting. That's coming up so, so quickly.

It feels very soon.

Oh my gosh. How are you guys feeling about it all?

I'm really excited because the poster came out last night.

Yes.

So I felt like it's starting to feel real. You know, you film these things so far in advance that you, you kind of forget that it's happening. And then, you know, Jade's been push, push, pushing to get this, to get us moving, to get us moving. And now it feels like, oh God, it's actually happening. So excited. Really excited.

Yeah, that's amazing because we're going to be really real on this podcast.

Yes.

I feel sick and I feel nervous.

Absolutely.

I feel proud. They're the three words I'll say.

Yes, I love that. And like, it's how we all feel as creatives, right? Whenever we like put something out into the universe, like this, like that nervousness, what, you know, all of that. And it's great to know that you guys feel that too, right? It's not just us.

I was talking to a creative the other day that just put a video out, you know, like they create, you know, a lot of the choreographers do their own videos and they were feeling really nervous about that. And I said, It's the same. It's the same. It's the same as when you put your first Steadford dance up and you're feeling that sick feeling.

Yeah, of course.

We're feeling exactly the same. Except I think for me, the fact this time that it's in the movies and the screen is so big, that makes me feel even more like you're gonna see everything. Like, like Lucas, you're in this movie a lot and you're going to be on that big screen.

Look, I'm not so nervous about the giant screen. I'm nervous about 'Cause I won't watch myself anyway. I'll look down whenever I see myself, like everybody does. I feel like studio owners are all like happy for the shine to be on their students, but they don't want it on themselves. And I'm feeling exactly the same. I'm very much a behind the scenes kind of guy. I think that I'm, the nervous part for me about it being in a cinema is that, you know, the first season we did was the 5 episodes and I felt like, you could really tell a lot of stories within 5 episodes. And 90-minute film, the stories are fast.

Yes.

So it does feel different and it feels, I mean, exciting, but I guess that's the difference with the cinema versus the screen situation.

It's more cinematic, obviously, but it's also, it's kind of like this electric energy that goes through it, the pace.

Yes.

So it does feel different. And everything about it, even when we're filming, felt bigger, higher stakes, more exciting, more to lose. Like, that's how it felt.

Oh, that's so exciting. Like, you know, how did this all come about? Because obviously you did the, uh, season— was it 2 years ago?

Yeah, yeah, around that time.

Yeah, Amazon Prime.

We filmed in 2022.

Okay, so it was a while ago.

Yeah, it's a while to edit, then get it up, then we're back here.

So did you ever see this becoming a movie? How did it like all of a sudden become a movie?

To be honest, I never thought it would be a movie. This is a surprise to me.

No, I mean, I didn't— going back to like the very beginning, I guess, if, if that's where we're going to start from. Yeah. I mean, how it actually all started.

Yeah.

You know, well, do you want me to let you tell this?

I guess the first part is me.

Yeah.

I'm kind of known for just thinking I'm going to try and have a go at something. And when I watched the docuseries Cheer, I fell in love with that.

That was so good.

I just loved it. And then I thought, yeah, what about our world? We're so interesting. And I spoke to a friend of mine, Luke— shout out to Luke, our amazing director— and said, if you're ever going to do anything with dance, it's got to— I want to do it. And that's how it sort of happened. And he just said to me, okay, well, you've got to take me to the undeniable main school that everybody knows. And I thought, I don't know if I can ask Lucas. I actually, like, to be honest, Lucas, so crazy. I know you find it crazy now because like we have been on so many adventures together.

We've cried a lot together.

We've cried a lot together. But at first I was super nervous.

Yeah, of course.

Um, and also I hadn't— I'm not from Brent Street. I didn't learn at Brent Street. I haven't really been associated. Yeah, to do like really with being a part of it, and I hadn't even been in the building. Yeah, that's the honest truth.

Yeah.

We have a very good mutual friend, Louise, who really convinced us that we needed to be— work together, like our magic would work well together. And the first day I went in that building, like, the place is a movie set. Let's be real. A lot of people ask me why it was Brent Street. And, you know, that might have got me a little bit of hate as well, to be honest. And that's good because everyone wants to see what goes on in that building. There are— I don't know any other studio that looks like that. Yeah, it's beautiful to shoot on from a camera.

It's torture to clean, but that's all I see is I'm like, it was like, it's so beautiful. And I'm like, don't look at that. There's dust there. There's this.

It's so beautiful. And the people that fill it are the most diverse. There's their characters. They're there. I don't think you'd find that. It's just the cast that walks through the door the first day. We saw Max Ossola dance the very first day. That we went in, we saw Cassie teaching the very first day we went in.

Yeah.

And we just knew it's got to be here. And, you know, testament also to the legacy of Brent Street. Yeah. Everyone wants to know what you're doing.

I mean, it's, it's 40— it was 40 years of Brent Street this year.

Crazy.

Which obviously I didn't start Brent Street because I would have started when I was 2. But, but yeah, I guess there is that, that legacy there. I mean, talking— when you were talking about characters, You know, it is the nice thing about, you know, Brent Street has so many different elements to it. But if we're talking, you know, we have the dance school element, which is this, which is the same as all of the other dance schools that we have out in the industry. But then we have that full-time element. And really those kids are a mix of all over Australia and New Zealand or international that are coming from very different walks of life as well. So it's really nice to feel that energy of excitement. You know, I know Cassie— Cassie's a huge part of that first season specifically. And I know that when you guys saw her teach for the first time, you're like, oh my God, this woman is, is amazing.

Yeah.

And, you know, and unfiltered. Yeah, totally. Because unfiltered, because she is extremely passionate about doing a good job. And she also, you know, make no mistake, we all in that building feel the pressure to try and be really good.

Yeah, of course.

So all the time. And we're like, so that pressure our staff, you know, they work really hard. Cassie works really hard. And ultimately it's built Cassie this career where now she's overseas. So, so it is, it is a place. And I look, I didn't train at Brent Street as a kid. I came from a little dance school on the coast and I, and I, when I was younger, I saw Brent Street on stage and I was like, oh, there's something, there's something weird there that I feel like I need to be part of. And I think it was opportunity was really what it is.

So, so exciting because we're going to be really honest. When I first asked you, you were like, you weren't yes straight away.

No. I mean, look, we, we had known each other through Louise.

Yeah.

And if I'm being really open and honest.

Oh, let's hear it.

Being really open and honest, I definitely felt, you know, I was, I was running the kids department at Brent Street before I bought Brent Street. And I felt, you know, slightly intimidated by these other kind of legacy studio owners that built their businesses from from zero to success.

So the first time you've said this, totally.

Well, there we go.

We're really getting that feel.

So, you know, there was a lot of all of these legacy studios around. People had started from scratch.

I had a legacy studio.

You did?

Yeah, yeah, absolutely.

You did, Jade. And so, you know, I was always a bit like, oh God, I felt a bit.

Yeah.

And, you know, there's always, there's always like weird stuff around. People think of Brent Street in a certain way, which in a way they think, oh, you know, I think because the kids are really good, they must be a certain way. And I'm like, they're not. They're just kids, like the same as kids. They're all kids. Yeah, I know that you've learned that. That you're like, Jade, these kids will break your heart and they will do the wrong thing by you. So don't trust them.

Yeah.

But, but so when I had, I'd had a few interactions with Jade specifically, I remember at Louise's birthday party, we had a bit of a chat and I was like, oh, hopefully after a couple of champagnes. It was.

Yeah.

I was like, oh, wow. Like, she is actually not actually, but no. I was like, she knows her shit. Yeah, she— I was like, oh, I felt excited after our conversation and a little bit inspired to be like, okay, so that's like somebody who has this legacy student. That's the— that's— I was, I was surprised. And then when you came, when Louise called me and was like, hey, this kind of thing, and you came for the chat, I mean, these chats have happened before in other ways.

I mean, people have asked Lucas to do it.

Yeah. Yeah. So they had— and look, before I owned it and the Howard family owned it, there were always different times.

Yeah. So different.

It's really hard to try and, to try and get these things off the ground. And, you know, TV is— it comes and goes and then there's an idea and then they pull funding and go over there. It just has to be divine timing. Yeah, I think. And I feel like, you know, there was times where things like, you know, I was asked to talk about Dance Moms at one stage and I was like, absolutely, that's not for us. Like, it just is not.

I was going to say absolutely not. But let's be, let's be more positive around it.

Yeah.

Yeah.

Not for everybody.

Not for everybody.

Yeah.

And I feel a responsibility to do the right thing by the industry. And, you know, I know we all do, but I, but I feel like people look at Brent Street to do the right thing.

Absolutely.

And then when I spoke to Jade and then I spoke to Luke as well, I felt like it didn't feel as big of a risk for me speaking to you because I knew that you also had something to lose.

You know, I'm going to do a little song. You know, we're all in this together. Like, if we go down, We're going down together.

So we've all got to build it together and make sure it's the right representation for dance.

And I knew that Jade had too much skin in the game in the industry to paint dance in the wrong way that we don't want.

Which is what we felt about other shows that have come out before. So that's incredible. Like, I love that you guys have been on this journey together from the series and now to the movie. So you finished the series, you know, a few years ago. Did you think it was like one and done at the time? No, that was never the plan.

Done because, you know why? Because the fans told us it was not done.

Yes.

Like being on— and Lucas probably hasn't seen as much side of this, but yeah, when I go to the workshops with the kids and I see what comes through our Instagram, there are people— even last night when we put up the poster, yeah, there were people from Brazil, Spain, everywhere. They're saying, is the movie here? Is the movie here? Like, we know how big dance is. Yes. And we know it wasn't done. And also, like, it really— the first time it focused on full-time training. Yeah. And then the question really was, okay, there's so many of these brilliant dancers, we've just seen them on stage. What happens to them?

Do you want to give us a little bit of an overview? Where does the movie pick up? What happens? Like, give us a bit of an overview.

Okay. Yes. So basically it starts at an audition. We had 200 dancers at Brent Street and they were alumni and current full-time students.

And open to anyone.

Yep.

Yes. And well, to be honest, more than 200 applied and people didn't even get in the room.

Into the room. Yeah, of course.

That's how hard it was.

How? Because people were like, oh, I live in this country now, but I'll fly back. I'm like, oh, I just was like, I don't want to waste anyone's time either. And we also couldn't get through enough people because, you know, Jade has a budget that she has to follow. Like, filming a day is like expensive. We can't afford to do another day.

Yes. So in one big day, we went from 200 to 10. Dancing.

Oh, wow.

And this audition, I'll tell you, Amanda, like, if anyone wants to be on a flyover wall, final wall on anything, it's auditions.

Yeah.

Because nobody can act in an audition because their real nerves are there.

Yeah, absolutely.

And so you've got your dancers. This audition felt like I could feel them. I'm behind the camera and I felt nervous for them. Um, we had people crying, we had We have someone vomit. We have— we've captured the real of the auditions.

All of the things.

Yeah. I mean, Lucas can tell you what's it like when the camera's like that far away from you, when you have the headshots in front of you and you are literally cutting people on camera.

Totally. I mean, you know, it's kind of an inside look. I mean, obviously there's editing involved, but it's an inside look into what every dance studio owner has to think about. But we have to talk about it.

We have to say it out loud.

Shit. I'm like, I don't want to say this.

Not with a big bad guy.

I would just be like, pretty quiet about it. And I'd be like, behind closed doors, I'd be like, let's just do this, this, this. Because, you know, they're standing right there in front of you. And I didn't want to embarrass anybody else.

There's a bit I love in the movie when someone's like, this is a really hard decision. You're like, no, it's not. Like, you just—

like, sometimes, sometimes it's not.

Sometimes it's not hard at all. So did these kids that come in— did they know that they were auditioning for the show?

Yes.

Did they know where that was going or what it was?

Ken would be selected to go international.

Okay, so tell us about that in terms of the show.

Like, you want to say about what they did?

Yeah, I mean, we—

the premise of the movie is actually around—

it is, it's about, it's about we were looking for 10 dancers across current and alumni that we were going to fly to London to spend a week to work with Janet Jackson's choreographer. I mean, now I know that like all my dance teachers out there are probably— I mean, I would say like similar to Jade and I that are such Janet fans. So we were a bit like, oh my God, will we see her? Will we see her?

Yeah. Well, do you know what?

There's even a little out, like a little part that didn't make the first series when Lucas, remember when you said, I know, I said, I said my life goal when I was younger, all I wanted to do was be a Janet dancer because that's where the representation for dance was.

Absolutely.

Anyway, we're going off track, but that was, that was the premise. I said, I said never. And then I was like, I'll never say never, but I would never.

Yeah.

Yes. So these 10 dancers were being flown to the UK. I mean, we spent 2 weeks there, right?

We lived in a house all together, which has its own elements. He didn't. I did. And then, yeah, our choreographer was training them like, like a backup dancer boot camp.

Okay. Yeah.

That whole time. And then we did a big performance, which was kind of the launch of Dean's company, which is called Shape House. Yes.

Amazing.

And while he was watching that performance, he chose one person who is now going to live in London. They've got the top agent and be part of the company.

So fantastic.

And that was, it was pretty crazy.

Was it put to the kids as a prize or was it just that this was offered? Like, you know what I mean? Like a reality.

Yeah, it's not reality TV, so it wasn't like that, but it was like, this is on offer.

This is on offer if you make it.

Like, we actually, we actually kind of forgot about it along the way because during all the filming, we were just so, um, engrossed in making sure that they were learning this combo and everyone was looking good and everyone was feeling good and that they're all eating properly and doing their laundry. Like, it was just all of those things. And getting there on time, waking up, have a shower. Like, we were trying to do that. And then we were getting to the end of the night and we were like, oh, we, we actually have to pick somebody. Like, somebody has to be picked.

Yeah, absolutely. That's so exciting.

And here's a scoop for you, Amanda. Yeah, that, that decision from Dean didn't come 5 minutes before we filmed it. He was tossing up between—

is that in the movie? I haven't seen it.

No, he, he was tossing up between 3 people right to the end. So it was just so—

and it is like, it's personal preference, right? We all know that. You haven't seen that.

Yeah. Um, we were like, fine.

Oh my God, I can't wait. I can't wait. Is everyone keeping a very tight lid on it?

Yeah, I think so. Yeah, nobody said anything. What I just want to go— when we go to the movies, I just want to go and see everyone's reaction to you win and I hope there's a movie where that person's in the audience and I want them to feel that love, you know? Yeah, because they really deserve it.

Yeah, I agree.

Yeah. So I'm really excited about that part.

Oh my gosh, I can't wait.

I want to know what everyone is predicting. That's what I want to know too.

Absolutely. So tell me about Dean Lee, because, you know, that's an interesting name to come into your world. Like, that's got to be such an interesting story about how that happened. Yeah. Like, tell me all about it and how that all happens.

Two facets to it. I guess something about me is that I have these little spurts of I'm going to do something a little bit— what's the word? Crazy?

Rash?

I don't know.

Like, I just think it's like, I mean, yeah, I was going to say ballsy, but can we say that?

You can absolutely.

I feel like Jade has this thing where she's just like, I'm just going to, you know what, I'm just going to do that. And she, and she, and that's—

but I still feel really nervous.

Yeah. And fuck it, let's do it. Kind of vibes.

Dean had posted an Instagram story. I was following Dean on Instagram because he is incredible.

Yeah, absolutely.

But I was nervous to talk to Dean, just like I was nervous a bit to talk to Lucas. Yeah, I think actually more. Sorry, Lucas.

I think that's fine. So you should be.

Yeah. And he put up a post about how he was like unhappy with the TV and film industry.

Yeah.

And I went, exactly what he said is what we kind of were thinking about the theme. You know, the underlying theme of our show really is, is talent enough or what else is it going to take?

Yes.

Make it. And he was commenting on that. So I thought, I'm just going to message him.

Yeah.

So I messaged him and I thought it would probably just sit in the, you know, request that no one sees. And then he messaged me straight back and then we just started messaging and then we went on a Zoom with his agent and I said, look, we're looking for some kind of opportunity. I don't know what you can offer, but I'll put you in touch with Lucas and you two can work that out. Yeah, because it's not for me to manufacture this opportunity. Yeah, you guys can work it out. But would you be interested? And his agent said, we'll come back to you. And then on that original Zoom, Dean, I hope you don't mind me sharing this. You said, I don't need to come back to you. I'm going to do it. And we just felt like I would say my personal highlight of this movie versus the series is meeting Dean.

Oh, absolutely. You got to live out your Janet Jackson dream. Yeah, in a version, maybe not how you expected. Yeah.

And even when the filming was wrapped, every night I just sat in Dean's room. I feel like I'm gonna cry saying this. Oh, like, I'll be really honest, I had a really hard time before we went. My mum was in hospital. I had to leave, um, her to come film, which is very— I was very like, I'm getting right now the whole time. Of course, every night when all the camera crew packed up, I just stay in Dean's class.

Class.

Yeah, I don't know what I was doing. I just wanted to watch it and I loved it. And I hope that the teachers get to watch how he teaches in the movie.

Totally.

There's a part when he chooses the lead and then he lets down the person that doesn't get the lead. And I don't think the general audience will really care about that part at all, but as a teacher, I just think he's the most beautiful man with the best way with dancers.

And yeah, and he's not, he's not just a choreographer. He's a teacher as well. He gets it. He knows how to train. He knows how to get the right thing out of people without, without being belittling or mean. It's not that old school kind of mentality. It really is.

But there's respect.

Yeah, but he commands respect. They're all like, yeah, but you know, I think that if you show up for your dancers and you give them what they need, the respect will be there.

Everyone go please follow Dean and you can call him Mama Dean. That's what the kids call it.

Oh my gosh, that is so amazing. I cannot wait to see this and it'll be so interesting to see it, as you said, on the big screen. There's different cast members too, right? For those people, like you have some of the old cast but also some new kids. Is that right?

That's correct.

I'm very excited about the new ones.

Yeah.

Everyone knows, I'm sure everyone knows and loves the existing OG.

Yes.

And, you know, I think we wouldn't— I don't think the audience would have liked it if we didn't have some of them. Yeah. They're who would the fans want to see now?

Yeah.

But they don't know what's coming as well. Like, I want to give a shout out to Abby. I just love Abby's dancing throughout. I think she's one of the strongest females I've seen come through in a long time. She really is.

My daughter had her as a teacher last week and just— she came home and my daughter's not on Instagram and, you know, I'm that mum. And she'd never— she didn't know that she was— I'd showed her about the Dance Life movie, but it didn't click for her. And she's like, Mum, all the girls were really excited that this girls. And I was like, yeah, that's the one that's on Dance Life. Remember I showed you?

Yeah.

She said, oh my God, she was such a good teacher. She had such good— you know, she was talking about not just her dancing but her as a person.

Yeah.

And I think that shows so much maturity, so much, you know, that they've been trained well.

She's so ready to get that spot. She's also—

but she's also like the, the reliable.

Yes.

She was never late. She's always— she's not skipping ballet, you know, she's, she's— and I She's showing up. Other students are just like, why, why is it Abby? And I'm like, well, yeah, she does the work, so you can't— yeah, you know, but she is— I, you know, this kid does, does the work, but she has something about her as well, which, which, you know, and she also has something very full-on happen to her. Totally.

Oh, I can't wait. You leave us with those spoilers.

I'm giving you all the spoilers.

Yeah.

And I guess a new favorite of mine is Jake as well.

Yeah.

Um, Jake, I I was kind of like looking to see who would be interested in— now I want everyone to know I can't decide in the audition. Yeah, but definitely like Lucas, you're, you're one of the voices that decides. Yeah, you're in your head, you are trying to think, I guess, who will be good for the show. And of course, yeah, of course, um, it is a show as well. Yes, but I mean, it's still a dance audition first.

It is. And it's also a representation. I think this was the hard part, is I'm like, hey, we're taking 10 kids kids, young adults that have trained at Brent Street over and putting them in a professional environment. I'm like, I hope that they're okay. Like, are they going to be able to do this? And so there's the responsibility of that. But then I also felt the responsibility of like, these are also Australian dancers that are going over into the UK. You know, Australian dancers have a, have a reputation in the UK for being super strong. So I was like, we were also thinking, what is Dean going to choreograph? So I'm going, okay, I need to make sure these dancers are well-rounded enough to be able to handle whatever he's going to throw. But Jake specifically, I mean, we do a tour.

Oh, he drives me insane. We love you, Jake.

In the best possible way.

Let's just say.

But I see myself in him because I'm like, that's what it is. Because, yeah, look, I was the naughty kid. I was the kid that skipped ballet. I was the kid that, that had, that had the ability. And, and, you know, I got pulled into the office and was told—

Frustrated because they can see the potential. All of that, which is what you said.

Because one of the first scenes we see Jake in is in the office. Yeah. Um, and you need to have a kid that's happy to be filmed doing that.

Yeah.

See, like, a lot of people would be like, don't show that, you know.

I think that they all trusted because they'd seen the first season.

Yeah.

And, you know, that, that was a, um, that was a, a scary time for all of us in the first season because we were like, what is this going to be edited into? And, you know, yeah, the first season we filmed for a year.

Yeah.

Pretty much like 4 days a week. Like September. And so the amount of emotions that even I had within a year's time, like, you know, we're dance studio owners, we have emotions.

Yes. So, so quite big ones sometimes.

Big ones. So, you know, I think that we were all nervous first season, but I think going into this second iteration, everyone knew, hey, these people aren't here to edit us in a way to make us sound that shitty.

But we are going to show the real you.

Yeah.

And if you're naughty, we're going to show naughty. And then if you're fabulous, we're going to show fabulous.

No one's getting a bad edit.

I love that you said that because, like, if I can be completely honest as well, with the first series, I didn't watch it for the first few days it came out because I was— I had nothing to do with the show, you know. Uh, you know, it had nothing to do with anything. I was nervous about how dance was represented.

Me too.

Because, and you know, it's so nice to hear that everyone feels like that because, yeah, I've, I've seen, you know, we talked about that other show before, that show that won't be named, but You know, that just makes me sick to watch that because I hate that. I have friends that aren't in the dance world that are like, oh, that's what happens in your studio. Absolutely. It does not happen in my studio. And so I kind of had put it off for a few days to watch it. And everyone was like, have you seen it? Have you seen it? I'm like, yeah, I'm not quite ready to watch it yet. Like it took— because, you know, that's important. So like you obviously felt that pressure to represent dance on the screen, but also represent Australia.

Yeah.

It's got to be a lot of pressure.

I think that I—

let's be real.

Yeah, I definitely felt a lot of pressure in the way that I was nervous about— I felt responsibility over the kids.

Yes.

Because I was like, these are kids and they're going to say and do things that in 5 years' time their opinion is going to change. But that's going to be there forever.

Yeah. Yeah.

I felt that I didn't want to— hang on, I'm just going to get my words right. I didn't know what the show was going to be. And I also was thinking, oh, Lucas, you can't be too boring because otherwise it's going to be a flop as well.

So I have nothing happen.

And the first, the first day that we filmed, I'm going to be honest here. Sorry. I'm going to be honest. Sorry. I, you know, I felt pressure to possibly be a more heightened version of who I am.

Yes.

Because I thought, amp it up a little bit, that's what they want. And, um, absolutely, I love you, Jade, but, um, you know, it was like, we need the stakes to be high, we need this pressure. And I know that at that point you were feeling that pressure because it was the first day of filming and you're like, oh God, we better, we better try really hard. So I feel like personally, when I look back on season 1 and when I saw it, I was like, oh, there's things in there that is actually a heightened version of what it is because you just want to talk about Jazz 1, don't you? I mean, to be honest, Jazz— I mean, it sounds ridiculous, but like, that's not really like it. That's how it kind of rolls, but it's not like that.

It was— yeah, it's high fatigue. Yeah, absolutely.

I think the only time where I, where I feel like I, I, um, exploded a little, and it— what that was actually true was towards the end of the season when we were putting together the grad showcase. And usually I would have been a lot more hands-on through the process and would have probably put in a little bit of harder, harder, firmer direction. But I was like, I don't want to come across like that. So I held back and then it got to a point where it was almost too late. And then I was like, oh shit. I was like, because now I'm like, we're going to put this on national television. Like, this needs to be good. And that was, that was the only day where I was up doing model walks down the room. For everybody to follow, which I was like, and then I actually said, please don't make me be a crazy dance teacher. Yeah, I was like, yeah, you know, so the front end, yes. Nervous about that. Yeah. You know, nervous about the amount of things that you say, how you're going to be edited, all of those things.

There was things that, you know, I'm still nervous this time for the same kind of things.

Yeah, I'm not as nervous this time. Really? No, because I feel like there's nothing. There's nothing. I mean, there's, there's things in there, obviously, but I don't think that there's anything that that anyone personally will feel like, oh, people are going to feel a certain way about me if I'm saying that.

Okay. I, I think it's more to like, you know, the show definitely is saying if you want to have a long career, you're going to have to make it international.

Yeah.

I think maybe some Australian dancers will be like, really, what do we have to— yeah, can't we just be here? But let's be real, there's not enough work here.

Yeah.

So maybe that might get some pushback. I'm not sure.

I did think that when, when the line when Cassie says that, I was like, I wonder how people are going to feel about being told that, that, that you need to have for more, for more longevity, that you need to look overseas. Now, look, that comes in ebbs and flows in this industry. You know, we went through a time after So You Think You Can Dance. I mean, that was a long time ago where commercial dance was high and dance was— it was everyone wanted dancers. Now we're in a time where everyone wants to watch a cooking show and everyone wants a chef. So it goes in ebbs and flows.

Absolutely.

And the industry seems to flow in the way of that musical theater will get really busy and then, and commercial dance will drop down a little and then it'll swap back up the other way. It just is at the moment pretty quiet for commercial. Commercial dance is quiet. Musical theater is alive and well in this country and it's making big money for our economy. So I get it. But there are dancers that do work a lot, but they're also teaching to supplement that.

Absolutely.

That's just which is, which is what it is. I mean, if you want to just work consistently, I mean, there's just bigger contracts overseas. We don't have—

we don't have the population as well. Of course, population has to do with the population, not just the artists or what else is going on. It just has to do with the population.

Amanda, I want to ask you.

Yeah.

Okay. So the bit I'm nervous about is the underlying theme of kind of the beauty standard of the dance industry. I am nervous about that because in the first season if you imagine I'm the only dancer on the crew and the executive team, they don't understand a lot of what's going on because they're like, in their eyes, some of the best dancers didn't work after, and some of the people they didn't think were going to work were just like getting everything. And they're like, why won't any of you talk about this? And we tried to do it with a little bit in the first season.

Yes.

And everyone is super uncomfortable to actually say the words of what's going on. Even I'm thinking right now what I'm saying.

How do I say it?

I don't want to say the wrong thing.

Absolutely.

And I think, like, let's give Emily her full credit. Emily puts herself right out there. In the start of the show, she tells us she's lost 10 kilos in an effort to fit more the mold of what she thinks she needs to do to book a job. Now, this brave girl puts herself in the camera, like in her photos, losing weight, right? Somebody that is so nervous to not wear a t-shirt. Yeah. Is doing this on the camera. To show you what's going through her head. Um, and look, it— we can't just say, no, it doesn't matter, you can be any size, you can look any way, you can be any diversity. This is— I've had to think about this a lot with this show, and this is what I've come to. If you are the look, it is going to be easier for you.

Yes. And you are going to get a faster pass. Absolutely.

If you are not the look. Yeah, it doesn't mean you're not going to get there. And Dean's own story is like the perfect example of what that can be like. But it means it's going to be a lot harder and you're going to get a lot more nos, and you're going to have to have a lot to find the right job. Yeah, and you're going to have to have a lot more, like, like you're gonna have to keep sticking with it.

Yeah.

And if you're not the look, you need to have a look.

Yes.

You can't just blend and be not memorable.

Yeah.

And I think Sammy is a great example of that, and she talks about in the film she's not the traditional kind of long hair flowing partner girl that's going to get picked for that kind of part. But everyone remembers Sammy. She shaved her head and peroxided it.

She's the one that's booked.

She's booked already. She looks amazing because she's got a look and she stands out. So that's how I've got to come to sit with it. Now, I think even saying that, I might get some heat from that. I don't know.

Yeah.

I think none of us really feel that.

I think that the, the training industry has changed a lot.

I was going to say, since we were kids.

Of course it's changed a lot. And, and it's not— I don't think it's based on that. But the industry that we're feeding into is slower on the uptake.

Yes, that's right.

So it is, it is a, it is a hard thing. You know, you're training all of these dancers to be able to do all of these incredible things, and then they get out into the industry and there's a lot of other variables that come into play that aren't about ability.

And not even just look. It's like, you know, your attitude and your ability to take rejection.

And also, you know, making up a landscape of different types of looks as well. So, I mean, I think a look is in— is, is, is a thing. I think I feel a little bit like as long as you— this is what I used to think because I was the short guy. There was a lot of work I didn't get because I was the short guy.

Yeah.

I still hate being short. I'm going to get over it.

Yeah.

Therapy. But I felt like as long as I'm the best short guy, yes, then I'm bookable.

Yes.

Because there's always— I say there's a look for every kind of shape and size. As long as you're the best of that, that—

and you're—

which is, which is— and it's hard. There's still less work. Absolutely. But, you know, and look does come in. Yeah. I mean, look does come into it. It's, it's a really, really hard thing.

You guys hear Dean's story on this?

Oh, I can't wait to see that.

Told he was ugly. He was told he's not going to make it.

Yeah.

And, and from where he's come from to what he is, that's why it was just the perfect match for us to be talking about what we're talking about. But yeah, if, if there's anything I'm worried about, I'm worried about that.

It'd be interesting to see how it's received by the dance industry. You know, are you mainly like focusing this to the dance industry or do you want it to kind of reach a broader population? You know, like, is it someone that is it dancers, ex-dancers, dance families that you want to see it, or do you think that there's a story in here for anyone?

First audience is definitely our community.

Absolutely.

100%. If I was like a young dancer, I would have watched this like 25 times. I would have learned the story like that. You're going to be obsessed with it if you're from our community. And really, we're making it for our community.

I think so.

We're trying to do something.

And I think that the idea is that, you know, Jade and I are both passionate about the entire industry, the dance training industry specifically, it's that, you know, putting dance on the screen makes kids at home go, I want to dance. And then they go into their local school and their local school has something to draw from to go like, look, especially if it's positive. I agree. Yes, I agree. They go, look, there it is.

So dance audience first. However, like last time, Emily's inbox was filled with thousands of messages from teenagers that didn't Dance. Yeah, because the stories about body positivity, the stories about bullying that come up again through this, this, um, movie, that is universal to all, everybody.

And it's like, you know, you brought up cooking shows before. I was watching Gordon Ramsay's documentary last night. I am not going to cook. I do not cook in the slightest. Yeah, doesn't mean I'm not engrossed in that world and interested in it and see stories through it. Yeah, absolutely.

And then hopefully a bigger audience will follow from behind.

Yeah, yeah.

I love that so much. So, you know, I think you've had the dance community come out, you know, to help you and support. I know so many studios. It's fantastic to see. I know that we work together and introduce a few studios, introduce a few things with you, Jade. And you've got lots of studios that are having a— are we calling— what are we calling them?

VIP advance screening.

Yes. How many?

150 studios. Remember I said I really wanted to get 100?

Yes.

And we got 150 studios from all over Australia.

Amazing.

That have signed up to get their own theater of different sizes and go with their whole studio. Yep. Alumni, teachers, families. Like, Lucas, you're surprised.

I feel a bit emotional about it.

I was like, oh, I'm a bit emotional. I mean, it's— we don't know if everyone's going to support it. We actually didn't. And thank you so much to you and Bec for letting me go on your Zoom first with your community because they were the first.

Yeah, we offered it to our—

and then kind of gave me an idea of like, yeah, what was going to happen. And can I tell you, I've loved getting to know all of these owners because I have a certain community and network that I've known for a long time, maybe the legacy schools and other people that I've met along the way. But some of the most amazing messages I'm getting are from studio owners I've never even met.

Oh, that's so lovely.

And people that are having them in like remote, remote areas. Like, Jake is from Griffith.

Yes.

And his town has like said they're doing a 400-seat theater. Yeah, it's going to be the biggest thing.

Oh, so nice. You told me about one of our Studio Growth Club members, and I can't remember who it was, it doesn't even have a theater, like a movie theater in there. And they're like, what can I do? Can I put it in the RSL?

Like, how lovely. That's having it in the drive-in theater in air Queensland.

So good.

Like, this is pretty special.

Yes.

And you know what, my whole thing was to show— I've been in so many meetings where they said, I don't know if dance has enough interest, or I don't know if that show would get up. Like, let's just say we don't want to see Idol, Masked Singer, what's the other— Voice. Every single year, singers, singers, singers. We have had 10 years since So You Think You Can Dance can be on. I feel like I'm on my soapbox.

I miss it.

10 years. The dancers that were on that are now amazing choreographers, leaders, leaders in our industry. Absolutely. They— there is a 10-year backlog of amazing talent. Let's do something.

Yeah.

So my mission is to show everyone the dance community does want to see dance on screen. Yes. And like, this is like a little bit of a— it's not a spoiler. I can't really say, but let's just say I've already been in a meeting where they already have noticed what's going on.

So good.

And I think more is going to happen. Yeah, that's the whole thing we want to do.

That's what you want, right?

All the studio owners out there listening, we can't just keep training and training and everyone doing this ridiculous amount of training. And there's so much talent. And then at the top end, there's not enough for what we're building. So I think as well, what it's shown me is some of the studio owners who also have resource are willing to say, yeah, we want to be a part of this too.

So good.

It inspires those, inspires those, you know, we know that, that we're in an industry where we're training all of these kids. For an industry that's quite small, but they need to see representation of dance on TV. They need to be able to because that, that, that does 25% of the battle with the dance studio owner of kids turning up to class because they're going, oh, if you mean that I can, if I can do that, I can do that. Or they're inspired, they're practicing, they're doing all of these things. I mean, I feel like that, that, you know, is hopefully what's going to happen here and drive more people to dance.

You know, I remember when, you know, I was a studio owner when the first So You Think came out, you know, and we had so many more inquiries. We had so much interest in dance at the time. And, you know, we know that not everyone's going to make it to full-time and we're not all going to make it professionally. No, absolutely. But what we do know that we build in our studios is community and, you know, education and all of those things, those great life skills that they learn from being in a dance class as a child that we know that as studio owners we can offer. So it's so great to give like like hope to that industry.

I agree. And I mean, I talk about this a lot in my life, but I'm like, I feel like, you know, that idea of people having a great experience in dance is a full circle effect because those people then go, oh, there's a musical on. I'm going to go and take my kid to watch that. So they're feeding the economy in that way. And then they're also bringing their kid back to that studio to train after they've grown up and done it. Like all of these people now are repeat business through community, through a positive experience in dance. So it's kind of a win-win.

Dance changed our lives. We all had a teacher that changed our lives. Otherwise we would not be sitting here today.

Who's your teacher that changed your life, Amanda?

Roslyn Boothroyd. Oh, really? Yeah, I know.

I think she examined me quite a lot.

Absolutely. Absolutely. She's still kicking it. And yeah, I saw her last year at the end of last year. I went to her house.

Marnie. Marnie from the Central Coast. Marnie's in Berkeley Vale. I trained there.

Marnies was so good. It was a huge—

she was a huge—

I don't see them, but City of Sydney Marnies. Let's remember that time.

So good.

And I have to say, of course, Miss Glenda. Yes, Glenda, who is still helping me through the process now. Like, probably the day I walked into her doors was probably a life-changing moment for me that I didn't even know was going to happen.

Absolutely.

Wow.

You know, so powerful that we've all had these stories through dance, but then there's so many incidental children that did it for a year but still remember it and still talk about it. You know, I'm sure you have the same experience that, you know, I meet someone at a party that, you know, is not from my dance, but they're like, oh yeah, I danced for a year, that was super fun. Yeah, you know, and it— they might not remember as much as we remember, but it is such a great thing for our industry and for those studios to have coming up. You know, it's so exciting.

Those people are then going to still send their kids to dance, and they're still going to go and watch The Lion King, and absolutely it's going keep, keep— it generates more work. You— we're all, we're all feeding each other's industry at all times.

Absolutely.

So that's every concert. When you go to the Grad and you watch, uh, like a Brent Street Grad, yeah, Lucas at the end always acknowledges the teachers where this— yes, come from. Because I think we all get quite annoyed when we think, oh, you're kind of— not you, I guess, or not.

Yeah, I understand. You know, people train these kids for 18 years or 18 years and then it's there. It's like, well, really? And maybe I I understand it because that was me, I guess, that I did. And I was a, I was a proud Marnie's boy, I can tell you that. Like, when I went to Brentwood, I was like, what do you mean? I, this is, I'm a proud Marnie's boy. Like, so, um, you know, I changed and grew in so many ways, but I still know that like that groundwork is there. And I, you know, I feel like it's competitive enough for dance studios to, um, to stay afloat, to keep getting up in the morning and staying till late at night to keep sewing the costumes, to keep doing all this. It's so competitive and it's such a, you know, I guess it's a thankless kind of job as well. Sometimes, sometimes it really is. So I mean, I feel like, yeah, I feel like I've just lost my train of thought.

We all need to support each other. It's where we're going.

It has to be supporting each other.

Absolutely. And that's what I would love to say. Like, you know, if you're listening to this, like, go out and watch it in the movies because that is how more dance will be on our screens.

Even if you don't have a screening, April 2nd, like the day— that's the day for Good Friday. We're going to have that little Easter weekend.

Absolutely.

Please go. We know there's going to be cinemas with 5 people in it. We know that. Of course, the big movies have that. We're not worried about that. But, you know, they will judge in our first week how many sessions they're going to put on.

I'm just going to go across to that EQ cinema and just keep— no, I won't watch it. I'll just keep buying tickets. I won't go in to watch it. I'll just keep buying tickets. Buy a few more tickets and suck some kids out there to watch it.

Because we don't know where it goes after this. So don't assume I'll just wait 2 weeks and it will be somewhere else. Yeah, we don't know. Yes, that's the—

so you don't, so you don't actually even know how long it's going to play in the cinemas. It could be one week.

Yeah, definitely be one week. So don't wait and think, I'll go the second week of the holidays. Please go the first week. And then they will tell us, you know, the movie business is just as cutthroat as dancing. Yes, we are competing for screens and we are competing against Zendaya. We can be competing against The Magic Faraway Tree, and in the second week, Devil Wears Prada 2. I shouldn't even be plugging these other movies, but that's the reality.

Yeah, absolutely.

You know, we're competing for that business, but not only the audience, the cinemas have to decide whether they're going to give us the time.

Yeah, people don't go, they just stop playing it.

Yeah, that's it.

Yeah, I've done that. Uh, I went to watch Six at the movies. I think I was telling you the other day, and it was like the live, uh, West End and I was like, are they going to— they hadn't put it up until like the day before.

Oh, really?

What screenings? I was like, what's going on here? And as I was talking to you about it, Jade, I'm like, yeah, they're just waiting to see if they get enough tickets. They're not going to play it again.

They're not going to just put it up.

Yeah, they're not just— yeah, they were literally putting it up day by day in my cinema to see what the tickets were like. I'm like, I better see this. Jade's told me that they take them off if they're not doing well. Like, I didn't—

I mean, I kind of knew that that would be the case, but I— now that you've said that, I'm like, oh God, okay, bye.

So tell me, like, movies, totally different worlds, probably not what you ever both thought you were doing. What's the biggest, craziest thing you've learned about movie world?

Oh, okay. Well, I guess I'll combine it with TV. Yeah. For me, it's that it's not— everything's not what it seems. It doesn't matter if you're in one of the top 10 shows on Amazon Prime for 8 weeks and you've actually smashed the ratings. Yeah. That doesn't automatically guarantee that you get to go again.

You have to re-pitch every time.

Yeah. There's things like streaming laws. There's different trends in the industry where you have to have a celebrity attached. It's not straightforward. Yeah. So yeah, I guess I just thought the things that got the most ratings would be the definite green, like to greenlight a movie is as hard as being a professional dancer. That's what I would say. For everyone that's thinking in the dance studio owner world, I want to go do something else. Else, I want to say it's, it's probably harder.

It's hard everywhere.

It's hard everywhere in terms of, uh, career.

Career. Because in your studio owner life, you— if you're a successful studio owner, there's not much risk involved anymore for you. You can— there's, there's things like you get bored. Yeah, there's ups and downs, burnout.

Yeah.

But generally you're pretty safe in, you know, once you get your school to a certain level. And then when you risk it all, let's just go big, let's put all the chips in and do something that no one else is doing. I think, you know, that that's what I've learned about the movie business. It's, it's not what you think. The difference about our movie is that everyone's pretty surprised to see this audience-first model.

Yes.

The audience is saying, let's go. I don't feel like we're— I don't feel like we're convincing the dance audience to come. I feel like they're coming.

Yeah, I kind of like they're coming.

I mean, the ratings will tell us in very soon.

Very, very soon.

That's so, so exciting.

Oh my gosh. I cannot wait to see it. It is coming out so soon. April 2nd.

April 2nd.

Cannot wait to see it on our big screen. I can't wait to say one thing.

One more thing.

Yeah.

Okay, let's go. At the end of the movie.

Yes.

I have fought for before the credits roll up.

Yes.

Say please congratulate and celebrate all of the dancers who've made this film possible because as dancers, so much of our life is not in the spotlight. We are literally the backup.

Yeah.

And our name doesn't even come in credits sometimes. Names. So I would love— and I don't know if I can get this started, but I guess this is— all right, let's hear it. Yeah, that when that bit comes up, you'll see each dancer with their name come up and the music's really pumping. I'd love everyone to clap like the theater shows at the end. Stand up, stand up, clap each person and film yourselves doing that so that it catches on.

Absolutely.

Keep talking about how the Minecraft movie had people throwing popcorn.

Oh yeah, there was like a certain section.

Yeah. Okay, so this is ours, which is actually acknowledging the dancers. Yeah, acknowledge the dancers. Thank you so much.

That is so, so good. So make sure if you're watching it, you film it, you tag, uh, because it's still Back to Dance Life, not Dance for Your Life on Instagram, right? Dance Life on Instagram. And make sure you tag them and celebrate these incredible dancers because, you know, obviously there was the winner in inverted commas of the prize, the person that got the contract, but all of those kids deserve to be, you know, applauded because they've all done an incredible job. Job. And hopefully there's exciting things coming up in all of their futures as well.

Already, already, like, there's a— there's, there's at least 4 or 5 of them that are booked on huge major things already. So we have to try and rank— I mean, some of them flying out tomorrow, like, we're wrangling them to try and get them to be part of it, which is a good thing actually.

It's good, it's a good thing.

Too many to wrangle them, too many to wrangle. I think that's what we want.

Absolutely, that's what we want, all want for all of us.

We want people to be able to say you can make dance your life.

Yeah, amazing. Thank you so much to both of you for joining us. This is so much fun.

It's great. Really, really excited.

Make sure you check out Dance for Your Life, April 2nd in the cinemas. Don't leave it too late. Don't leave it too late. And we can't wait to have some of the cast at Dance Teacher Expo as well. Be so incredible. Thanks so much, guys.

Thank you so much.

We hope you enjoyed this episode of the Dance Principals United podcast. If you'd love to learn more from us, we have a special offer just for our podcast listeners. Go to the link in the show notes right now to get 2 weeks free in Dance Principles United Tribe. We would love to see you there.