Ballet 422

Synopsis: Ballet 422 is a record of the creative process of a young choreographer Justin Peck, just 26 years old, hired to create a new ballet for the winter season of the New York City Ballet in 2013. The New York City Ballet is considered one of the best companies in the world. Since 1990 he is led by Peter Martins, his Ballet Master in Chief. The documentary describes the intense backstage work that takes place during the process of creating and learning this new ballet: "Paz de la Jolla". It shows Peck working with his fellow dancers (Justin Peck is also a soloist at NYCB!), with musicians, lighting technicians, and costume designers in the composition of a new work, his third creation for the NYCB. It is the first time the New York City Ballet is exposed during the creation of a new a ballet.
Director(s): Jody Lee Lipes
Production: Magnolia Pictures
  1 win & 3 nominations.
Rotten Tomatoes:
75 min


Two to the back,

Two to the front

with a single turn.

So we have:
Two, two, two,

and a turn and down.




One, two, three, four,

five, six, seven, eight.

Fifteen minutes

till the third ballet of the evening:

Jerome Robbins' Glass Pieces.

Dancers to stage, please.

Onstage call!

- Sorry.

- One, two, three.

That was great.

No, it was really...

You know, you're doing the arms

out and around.

- Sorry.

- But you know what?

You make the mistakes

look really good.

I think we're gonna keep that.

I like that.

- Okay.

- Out and around.

I liked it the first time,

but now I kind of miss the...

after the turn...

Okay, so the first one, I'll do,

and the second one, no.


That's good.

You know what it is?

It's because here...

I'm kind of in the middle

of my legs.

- Oh, okay.

- I'm not...

- You mean for this?

- Yeah, that's why.

Do you want to go...

We can do the old way.

I have to just work on it

so that I...

because I'm, like, really...

What if... Yeah.

What if you thought of it moving,


Yeah, constantly forward?

- Yeah.

- Like, here...

Start... I don't know, yeah.

That's too much.


Or it doesn't even...

I think you're over...

Maybe you're thinking about it

being, like, a full turn

and it really

should be more like...

I think I was just trying...

If I just keep it going from there...

- Yeah, that's fine.

- Is that okay?

- Yeah.

- Like, step, step.

Yeah, because what I'm trying to do

is here, and then I have to...

I think that's cool.

I don't think I've ever seen that,

- which is good.

- Yeah.

- Good.

- I was a little late.

Just make sure this saut,

after we do this turn,

the fourth...

- Justin.

- Yeah.

- Can we give her a five?

- Oh, yeah. Sorry.

Oh, that's fine.

- It's just been an hour.

- Yeah.

- It's okay. Thanks.

- So it's like the boys, Justin.

- If we stay like this...

- Yeah, yeah.

It's like what you said to the boys.

It's like a... It's a theme step.

I understand,

because it breaks up...

It should always be,

like, sometimes Amar,

he gets a little tired at...

you know, after the pas de deux,

when he finishes here...

Oh, yeah.

And he brises to there,

sometimes he gets really, like,

loose in his arms,

so keep an eye on him.


I'll keep my eye on Amar.

I will, most definitely.

Okay, I'm gonna get some water.

Cameron, bravo!

I just heard him say,

"One, two, three, four, five, six.

One, two, three, four, five,

six, seven, eight."

Oh, he did?

Oh, okay.

I was just counting slow.

Okay. I'll count slow.

So you just count it

as an eight.

- Yeah.

- A slow eight. Okay.

I want you to turn.

Maybe if you kept her

on her leg.

So if you came back

and you came up,


and then turned her somehow.

- Okay.

- I don't know.



He kept me on the side of him.

- On the side?

- Yeah.

- Of this side or that side?

- That side.

Forget it.


...up... dip.

Bring the leg up through

to extend out.

For you. So you'll go back.

You're in fifth.

Bring the right leg up through pass,

and then step out.

That's it.


One, two, three,

four, five, six.




That was good, though.

It's almost like

you need one more step, huh?

- Yeah.

- You need one more step,

do you think?

I think what it is, too,

I have to have distance.

- Yeah.

- If I'm too close to you

when I kick my leg,

I don't... I won't ever get flat.

Like, I almost

have to give him my...


I have to be a little further.

Or maybe I can move back.

Or something. Yeah.

- You can always adjust.

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Submitted on August 05, 2018

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