We got an e-mail the other day, and it turned out to be from Mr. Vincent Paterson - the choreographer, dance director and actor in the movie Dancer In The Dark.
Thrilled by the thought of him visiting our humble site, we asked him if he wanted to share any of his experiences of being part of this movie and acting alongside Björk, with us and our site, and were even more thrilled when he sent us this mail back:

  

  
From: <Vincent Paterson>
To: <The UI-team>
Sent: Wednesday, June 07, 2000 3:05 AM

...

Thanks for responding. I really like your website. It rocks!

Lars sent me the script and it was originally called "Taps." I told him I would love to choreograph the movie but tap is not my specialty. I also mentioned that if I were to have the wonderful opportunity to choreograph this film, I would create a kind of dancing for Bjork that took advantage of her idiosyncratic kind of movement. It is so original and unlike the way anyone else moves that I called it "Bjorkisms."

He liked my work--I have choreographed many projects for Michael Jackson and Madonna.  I directed The Blonde Ambition Tour (Madonna) and The Bad Tour (Michael), choreographed the movies "EVITA" and "The Birdcage" and many others. I was even the white gang leader in Michael's video, Beat it.

So Lars invited me to do the film and changed the title to "Dancer in the Dark."

I came to Denmark from Hollywood, Ca., which is where I live. While in rehearsal one day with Bjork, I asked Lars who was going to play the role of Samuel, the director of the community theater which is putting on "The Sound of Music." I reminded Lars that I had to rehearse with this actor in a few days.

Lars told me he found the actor, walked me to the mirror and said, "Here's Samuel."

At first I didn't want to do it, but decided it would be an incredible experience--which it was. I had great fun acting in the movie. I have not acted in a while because I have only been choreographing and directing.

Lars also asked me to help him place the 100 cameras which we used only for my dance sequences. It became my responsibility to work with an incredible crew and to frame each of the 100 cameras for every dance. So, I received the title of Dance Director as well.

Working with Bjork was truly a dream. I had been a fan of hers for a long time and had told people that she was someone with whom I always wished to collaborate. In rehearsals, she was so responsive to every step I gave her, but I always tried to make the movement come from her "bjorkisms."

I also decided that all of the choreography should feel as if her character, Selma, created it, not me. She loved that idea and it also made it easier for her to get behind. She was always open in exchanging musical ideas, as well as open to any suggestions as to changes which might enhance the dances.