When you auditioned, Fosse was there. Yes? Oh absolutely. How many people were there? There were probably about 200. 200 guys, probably about 300 girls.
Then they cut it down to like 75. So it's like All that Jazz, everybody's out
there at one time. Absolutely, absolutely. Are you trying to work your way
up to the front or something. I always wanted to be – because they
always look at people left to right – I always wanted to be on the right hand side,
because that's the last person you see. And you don't have to necessarily be in the front.
The ones in the front are usually the ones that are really pushy and they tend to look past them.
Okay. Because you're overdoing it. You tend to look at dancers left to right.
Yeah, when you you go down the line you're looking at people they start at
the left and go down to the right. And you want to be stage left. Yep. They were looking for a look.
Besides being able to dance, they needed different looks for the movie.
And the final thing was he had each one of us sing and he said you read music don't you and I said yes.
And he said, I thought so. And they didn't say there'll
be a call-back or anything, they just hired the people that day. We learned all the songs and recorded them,
because he wanted that "broadway sound." Explain to me what the "broadway sound" is. It's a broader sound
and it's a fresher sound. It sounds more real, then perfect. It's not like opera where every note is perfect. Right. And they just wanted to hear that broad sound. To feel the rhythm of life,
To feel the powerful beat, To feel the tingle in your fingers,
To feel the tingle in your feet. Flip your wings and fly to Daddy,
Take a dive and swim to Daddy, Hit the floor and crawl to Daddy,
Daddy we got the rhythm of life, Of life, of life, of life. Yeah! Yeah! Yeah!
Man!
