So You Think You Can Dance
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Daniel: Do some of the judges, do they know enough about hip-hop to be judging, you know, like Mary or Nigel? Sparks: I don't -- you know what? That's a good question. I don't think so, but a lot of times when they judge it, they judge it from a performance point of view, you know what I mean? And I can't be mad at 'em, because, like, when I was on the panel a couple of times, I would judge ballroom from a performance point of view, and I'll let Mary take care of the technical, and let Nigel take care of the technical side of it, because I really couldn't a hundred percent judge that. But that's what makes the judgment good, because -- I would think their performance was great, coming from somebody who's never done ballroom. You know what I mean? And a lot of other people in America would say, "Oh my god, that was good! Why they doggin' him?" -- you know what I mean? So you need both sides of it; you need the technical side, and you need the side that's not technical, but knows the performing, so when the audience, when America's watching, they can judge from both those sides, instead of it just being all technical. 'Cause if it was all technical judges up there, you know what I mean, a lot of the routines would get smashed. So that would kinda make America be like, "Okay, I guess they didn't do good." You know what I mean? But if you get somebody up there who's like, "Oh my god, I don't care you weren't on point, you weren't flexing your toes, or your back wasn't up or your chest wasn't out, but your performance level was off the hook," and that would make people be like, "That's hot, then." Daniel: In the finale, you talked about Phillip Shebib, the guy who did the noodle-armed thing. Sparks: Yeah, yeah, yeah. Daniel: You said he knocked you out. You also wanted to see Pasha [Kovalev] and Sara's West Coast swing again. What were some of the other highlights for you over the season, both in terms of your work, and the work that the other choreographers did? Sparks: One of my biggest highlights was when I did two of the opening numbers. It was the one when I did one of Wade Robson's songs, and I had the wind blow at the end. I had Sabra blowing everybody into, like, these crazy formations at the end. That was my favourite. And then my second one, on my side, was The Matrix, when Lauren came out dressed in all black, and all the others were dressed in suits, and she just totally controlled that whole number. That was my favourite. But when it comes to anything else, Mia just blew me away with the number that she did about her father and her in heaven. That was just, like, straight beautiful. And as far as, like, the audition process, that Brian Gaynor guy, the guy with scoliosis.
So You Think You Can Dance