LMAO! Didn't realize it was this long when I started working on it
I couldn't finish it tonight, I'll do it later, like tomorrow or the day after when I have time.
By the way, this interview was done originally in English I believe, but for some reason (like the writer's writing habits and vocab), I couldn't guess many of their original wordings they used (except for katakana-ed ones). I hope I got all the meanings correctly, but the translation ended up being rather liberal and free than I expected it to be, and probably not as accurate as it should be, I'm afraid. I hope you don't mind that. Please feel free to ask if your translation doesn't match with mine. Also, this is quite a rough work, so I probably made some errors too. Please let me know if you notice any so I can correct them later.
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- You've participated in WC for 8 times as a skater, and this is your first time, not as a skater but as a choreographer... is it supposed to be just as a choreographer?
As a choreographer and coach.
- So, you came to Saitama as a choreographer and coach. How is WC in a different position?
I think it's a totally different thing. But, there are things that feel like "new" and "not so new". Being here not as a skater is "new". But in my case, as my parents were coaches, I've seen what it's like to work as a coach since I was little and there are things I know. So, that's where it feels "not so new".
I'm coaching with the knowledge I've received from, not only my father, but many mentors who have taught me. That means, I'm instructing the teachings by my father, Alexei Mishin, Brian Orser, Tatiana Tarasova, Frank Carroll, Phillip Mills and so on, through me.
- What do you feel when your student is performing on the ice in a competition?
Before that, we get prepared as much as possible in all aspects, technical, expressive, and mental aspects. Because it is very important. Then I send the student in the best condition to the competition. That said, it's not really an easy thing to do.
Once the skater is on the ice, it's all up to them. (laugh) But when my student is skating, it feels like I'm skating together on the ice. I'm doing the same movement, it's just that the student is in the rink and I'm outside the rink. (laugh) That is why some coaches make intense movements when their student is skating.
- But you're watching your student, standing still, looking sharp in a jacket.
I'm consciously trying to do so. Yesterday, Ari Zakaryan uploaded a pic of Brian, Tracy and me watching Medvedeva in Ladies Single on SNS, and there was a comment that said "Why can Misha stay so calm?" Let me reply to it, "Appearing calm does not neccesary mean it's the same inside. It's storming inside." (laugh) I just want to balance out with what's happening inside me and I stand still calmly.
Especially since I came here, it feels like I'm empty at the end of the day because I'm bringing out all my energy every day. I work from 8 am to 10 pm, but my head is clear and I wake up in the middle of the night. This time, I'm working with 3 skaters (Evgenia Medvedeva, Hong Yi Chen, and Eliska Brezinova) and they all have their own methods for preparations and mental conditions. One wants to stay focused, another wants to have a pleasant atmosphere, another wants to be left alone. And I adapt to each of all the cases."
- Before the competition starts, do you all, the coach, skater, and you Misha, talk about how you want to approach it?
That's right. I'm not with the three skaters 24 hours a day, 365 days a year. Just some days a year, I go to their place or they come to me. So I have to talk to each of the three and their coaches to discuss in depth before every competition and decide how to approach it.
(About Tosca, Medvedeva's SP)
- May I ask about your choreography of "Tosca", Medvedeva's new SP since Russian Nats in December?
Sure.
- When did you get the offer?
Three weeks before the Russian Nats!
- What! On such short notice?
That's right. At that time, I was in Armenia for an ice show after having finished with Kazuki's Rostelecom Cup, and I received a text from Brian in the morning, saying "I want a new short program for Medvedeva.
- And how did you reply back?
I was surprised, like Wow, but I texted back to him, "Okay, sure. When's the next game?" Then his reply said, "In 3 weeks." (laugh)
- Well, well, well... (laugh)
So I asked "When should I go to Canada?" and he goes, "As soon as possible."
- And when did you go to Canada?
4 days after I received the text. I cancelled a camp, changed my original schedule of going back to LA first, and flew straight from Armenia to Canada. I worked for the new choreo on the flight to Canada as well, and then when I arrived in Canada at 5 pm, I went straight to the rink, worked for 8 hours on the ice until midnight, ... it was a big challenge.
- You've done that far because the choreo is for Medvedeva, the big skater?
Well, every skater's choreo is important for me. That being said, this one was very tough and it was a big work. I had only two weeks and a half, so there wasn't much time, she is a big skater, and it was a very important season for her after having changed her environment. Moreover, her previous program was made by a wonderful choreographer, and that also made it difficult.
Considering all of those, I needed to create a program that should deliver her inner strength and show her beauty not as a young girl skater but as a mature lady skater. Besides, with the limited time, the music had to be something she could (easily) go deep into (to feel it). As for the costume, Elena (Pollack) who had been in charge of my costumes for long, Brian, Tracy, Medvedeva, and I, all of us discussed together to decide, even to the fine details. That deep and rich red is an image of a very deep fire. I think the dress makes her look really mature. She made it through all these many difficult things in just two weeks or so.
- How did you decide to choose Tosca for music?
"Tosca" is strong, powerful, dramatic and passionate. So, I thought this would be good and I sent it to her, and she said, "Wow, I think this is good. I can feel the music." There were some other pieces to choose from and Brian, Tracy, Med and I together listened to them to compare. But I thought "Tosca" fit her the best. I think it was a good decision.
- Why do you think they chose you to choreograph for this important program?
Don't ask me, ask them. (laugh)
- You're right, excuse me. (laugh)
According to Medvedeva, they had more candidates for the choreography, but in the end, Brian said "Okay, let's ask Misha."
I don't know why they chose me, but I'm thankful for the decision. I'm thankful for being able to work with Medvedeva, and for being able to work with Tracy and Brian together, too. Working together with the two coaches also taught me how to support skaters in the back/behind the scenes. At the Cricket Club, they let me do, not just choreographing but also instructing some techs and going into details on spins. In that sense, I'm thankful to the two for letting me join that team. It's quite something (rare) for such elite coaches of the elite skaters to let a new and young coach in their team, though. I'm very thankful that they believe/trust me. I respect them so much.
(About Choreographing for multiple skaters)
- You have choreographed for 3 skaters, among those taking part in this competition now, but they are not in a rivalry relationship, right? What do you think about choreographing for skaters in the same category/discipline and on the same level, for instance?
I want to deal flexibly with it. As a choreographer, I put all my efforts into it to choreograph for any skaters. Whether the skaters I choreographed for are rivals, friends, or in good terms or not is another matter. I'm always open and I pay my biggest attention to the skaters I work with and I respect them.
- As I watch you work, I find that you're such a caring choreographer and coach.
Thank you. That's how I want to do my work.
- Then, if you were to choreograph for top level skaters in the same category, how do you treat them?
I don't know if such a thing would happen! (laugh)
- Suppose if it happens?
If it happens in a competition, I'll put my 100% efforts into both skaters and then step back and watch over them. Because I want to give both of them the same amount of supports. At Ladies Free in this game, Hong Yi and Eliska are skating in the same group. I'm not only choreographing for the two but I also coaching them both. So I've talked to each of their teams and explained the situation beforehand.
- I see. Now, when do you feel happy as a choreographer and/or coach?
When the skater feels happy, I think.
- For example, Medvedeva was wonderful in her SP. I could feel her strong emotion. I believe many felt the same way as I did. What did you feel from her performance, Misha? Did you think, like "This is my work" or something of the sort?
No, no, nothing like that, really. When she finished her performance, I was very pleased as a team. I thought it was the fruit of the teamwork. I knew how devoted Brian and Tracy, as well as Medvedeva herself, had been working for it. That was a victory of the team.
- Congratulations, really!
Thank you. But Free isn't over yet! (laugh)
- That's true. Now, regarding Kazuki...
The Ramen-boy.
- He loves ramen, doesn't he.
Oh wait, he's got a new name. Now he's a Ramen-guru. (laugh) He knows everything about ramen.
- Right. So you continue to work with him in the next season?
Yes, I'll be working to the best of my ability for him. I've sent him like 7 to 10 pieces of music to choose from for the next season's program. This is still just about ideas, but I want him to explore and learn many things in a wide variety. So I introduced him to my mentors, and I want him to further learn more things at their places as well. I'm also one of his coaches, so I feel that way. I don't think it's fine just to let him skate what I choreographed.
- I see. By the way, it's only been a year since you retired. You came up really big this year.
I made 32 programs.
- A big number. Can you take time off (when you work) like that?
No! Even if I take some time off, I think I'd end up thinking about skating anyways. Like which music is good, or what transition or step to use, and so forth.
- Workaholic?
No, no, I don't think I'm workaholic. Even though I don't take time off, sometimes I slack off, and a part of me tries to uplift my spirit.
- How about taking a week off with no plans to refresh yourself?
I'll think about it!
EDITED IN
- Being that busy, Misha, do you fix those many programs you choreographed for the skaters of various countries during the season?
I do. Like you said earlier, it may be funny to say this myself, but I'm a caring type of person. I visit the skater when I can, or if they can, then they come to me, to fix the programs many times during the season. Medvedeva's SP has also been refined afterwards.
After Russia Cup Final on February 22
(snipped the explanation), I went to Toronto and fixed her program. But back then, we didn't know if she could participate in WC or not yet. People said, "Misha went to Medvedeva's place, that must mean she is going to WC," but that wasn't right. We really didn't know. Or, it wasn't decided yet, so nobody knew. I was at Cricket's for 4 days, and it was on the very last day when I was leaving Toronto that we heard she was participating in WC.
- I see. Thank you for revealing a lot of stories that you otherwise couldn't before. Finally, may I ask your future schedule?
I'm occupied with choreography works and camps until June. I'm very grateful that I've got a lot more offers this year than ever before, but actually, I already had to decline some. My schedule is just too full. I had an offer for an ice show too, but my schedule was already filled with a choreography work then. I'll do my 100% from now on, too.
Now, I have to get going for Ladies' practice. See you!
fin (sorry, not translating the writer's comment for now)
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