Twyla Tharp

Yeah.

Thank you.

We did too.

Totally, and how much was preserved from the era.

We shot in Prague for Vienna.

It was hard working there, still under the regime.

And that, in a way, put it closer to what Mozart had to deal with, the sort of restrictions that he had.

But the research that went into that picture was enormous.

all of the illumination was from candles.

All of the illumination in the candles.

They used the same beeswax as they had used 200 years before.

All the mechanisms on stage were what were used in the original productions.

And because we shot in the opera house, which had not been updated, in fact, it's one of the ways Milos got back in, was to say, okay, we will pay for the reconstruction of the opera house when we're done.

And they took him up on it.

But I was using the same mechanics under the stage that Mozart had.

The door that opened into the orchestra was the door he touched when he came in to join the orchestra.

And we had scenes that had live fire.

We were swinging live fire around.

You don't do this, but we were.

And out of the floor, there were little holes.