Imagine this guy hits Mike Hammer over the head with a wooden coathanger and knocks him out. You hit Mike Hammer over the head with a wooden coathanger, he'll beat the crap out of you.
So I'm in the library, and I have keyboards out and my headphones out. Everybody's like, "Mike are you making beats right now?" and I'm like, "Yeah... sorry!"
[Mike] just loves [his] motorcycle and he would take it out too early [in Green Bay]. In Green Bay, you've got ice until June, and he'd take it out sooner than that. He can finish the rest of the story. Ask him about taking the bike out a little too early.
When I'd be out-and-about at a club and the music would come on, I was never the guy that was gonna dance. But after Magic Mike - I have like two or three go-to moves. That's what Magic Mike gave me.
We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.
The musicians are good and their music is catchy - it pulls the kids in in droves. Mike Bickle admitted to me that the music was a big part of their success at attracting young people.
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