So what was it like to switch from film to circus?
“It was a weird hybrid,” he replied.
“I did a ballet for Twyla Tharp. At first, I thought this was almost more like doing a ballet than doing a film. Yet many of the influences were film. So it was really like a hybrid of doing the ballet for Twyla and doing the films that I usually do. The process of it was much closer to the ballet, but much more intense.”
With the ballet, he only required the choreographer’s approval. Film, too, only requires collaboration with the director, he said. Within the Cirque, Elfman found he had to cater to the needs of each performer. (There are 75.)
“Every piece had to suit a very, very different temperament and style, and it was all about performance. Fortunately, I’m kind of used to rolling with the punches, and having to be a musical acrobat. That served me well.”
Elfman wasn’t prepared for the technical side of Iris, either.
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