MT: Let's talk about the choreographies of the "re-Invention Tour". Did you put in something you didn't have the chance to do before?

JK: The songs really tell you what the choreography is. I was thinking of different ways to move Madonna. So the conveyor belt in "Nobody Knows Me" was a big deal. My idea with this stage was that everything should be moving, all the time. Like you couldn't tell what it was going to happen. One surprise after the other.
I mean the stage, technically, is coreographed. It is an outrageous amount of choreography that that stage goes through for the concert tour.

MT: Yes it was incredible for the fans.

JK: It's really important. So the original idea would have blocked too many seats because it was built into the ground. So we had to figure out another way for it to work. We were determined to do something that hadn't been seen before so that's when the production manager said: "Why don't we fly it?"
I said: "That can be done?" and was: "I don't think so, so let's try it".
We attempted it and it was not part of the original design. The original design had something else there and this is what replace it and it really made more sense.

MT: Actually we were wondering how they were going to put the catwalk down in Paris where the people was standing. But it worked really well.

JK: I was there in Paris, so what we did was to put barricades.

MT: Was the final choreography of the tour ready when rehearsals started?

JK: When we get to rehearsals Madonna and I think the same, we like everything to be really prepared so that we can execute everything because she has a family, she has a very tight schedule, so she comes in for this many hours here and this many hours there and then go home, make it to Kabbalah or whatever it's got to be, so in order for that to happen I really have to make sure that everything is pre-prepared.
So what I do is bringing in choreographers for a few weeks prior to Madonna even getting there.
I start developing everything and get the idea and I play Madonna so I can feel what it's going to be like.
Trying out the staging and all the choreographies so I can get an idea of how to explain it to her. Where she's going to be going and why she's going to be going there and what it means. That happens for a few weeks prior to her even arriving.

Now mind you, I was still doing meetings with her and still designing the stage and at night time meeting with different choreographers and sending them on their way saying do this and do that and then having them come back and show me something and then me changing it like five, six times. Then Madonna would finally come in once it was to its place, where I thought that she could receive it.

She would come in, look at it, make her changes, and that number would be finished and then going to the next number.
I had three rooms going. The Music room, for Madonna and the band. The main choreography room and then I had another sound stage where other choreography was being taught, like swings and other specialities like fire were being taught and other things like that.

You know when you think about rehearsal it's really painful.
It's really an emotional time but you know what's exciting about it? It's really the creative part, putting it all together.
To see it with big props and we have to always imagine the stage is going to rotate and image that there's screens behind you. That part is really great because we're playing imaginary and to see it all realized on stage later that's the best reward.

MT: Let's talk a bit more about one of the songs of the show: "Don't Tell Me". During the tour it got two different versions. The "French Musette" one and then the "Bittersweet/Rolling Stone" one.
Was an original idea to have these two version or was it something that came along the way?

JK: That came along the way, and that was mostly Stuart (Price), the Musical director. He was really big on those moments, in defining "Don't Tell Me".

The French idea was Madonna and mine, we were looking for another visual that would work.

Obviously we didn't want to repeat or re-create country again. She has this amazing French art book with these beautiful photographs and that was her inspiration for that number.

MT: Oh cool. Ok so let's go straight to the point (laughing). Do you think Madonna will tour again soon? We have this feeling...

JK: I hope so (laughing)... I hope so.
Madonna still has a lot to offer as always and it will be great to see her again and I think the fans will love it right?

MT: During the "Drowned World" and "re-Invention" tours were you following the tour on the road from venue to venue?

JK: No. I always go for the first few weeks basically when the tour gets in motion I go for the first two weeks. And then I have two assistants who stay on the road. One will stay for Europe and the other one will go for United States.

MT: Did you often see Madonna on the road in Europe this time?

JK: Absolutely, I come and go on the tour.
If she wants to change something or she's feeling bored or if she just wants support or she feels that the show needs fine tuning I come in.
Quite often I came to Europe.

MT: So are European fans different?

JK: Madonna fans in Europe in general are crazy.
Crazy in a good way. They are really animated. I love the energy of the European fans.

MT: So what can we expect from the tour DVD?
When the "Drowned World Tour" DVD came out the fans were expecting to find the full lenght "Paradise (not or me)" video or the video projections as special features. Is there a chance to have very special features on the "re-Invention" DVD or not?

JK: I'll never tell, I might know but I'll never tell (laughing).

MT: Aha you do your job perfectly Jamie.

JK: All I can say is that the fans will be very pleased when the DVD does come out because they will really get what they desire.

MT: That's really good news, so it will be worth the wait.

JK: Yes, well because it has to be right and also the documentary has to come out and there are things that have to be done first.

MT: Right, as a matter of fact everybody is waiting for the DVD of the show and the documentary. How was working and having the documentary crew around. They were there from day one right?

JK: Yes they were there, mind you I had to stay out of it mostly because I was so busy and preoccupied and like I said I'm the guy who has to make everything work so Madonna has really the responsability for that documentary.

I didn't noticed them because I was so preoccupied. I was so busy that I didn't even notice the camera crew around there.
I love the guy, it was Jonas (Akerlund). We worked with Jonas before. We did "American Life" together. He his just a great guy so him and his crew following us around... you couldn't ask for better.

MT: How has working with Madonna changed you as person and as an artist?

JK: Well more so than anything I think it opened me up to being confident and believe in my ideas and concepts, because she has been so opening and so behind me in my beliefs and concepts.
So for me that support has really kind of propelled me and knowing that I am capable of doing these great things. Madonna is great that way. Madonna, if she believes in you will really push you to be a better person as she pushed herself to be better and recreate all the time.

So that itself is just a wonderful thing to be around cause she's very inspiring. But also she's extremely professional, so that alone has really helped me and benificial my career because the way she deals and handles business. I work that way and people really appreciate it.

MT: Is there a Madonna performance you worked on you are most proud of?

JK: I think the first one. "Human Nature" was a moment that I don't know if I'm the most proud of it, but it's the defining moment in the Madonna and Jamie relationship.
To me that stands out in my head because it was the beginning. I was allowed to free all my ideas, to let them flow and she was the first person to really receive them.
For me that was a great moment and... oh you like "the kiss"...

I think the kiss on the MTV Awards was a fun moment just for what it was. For the kitsch factor and for pop value I appreciated that.

MT: And what about a performance by another artist you worked with?

JK: Proud moments? Well anytime I can get an artist a standing ovation. Like Ricky Martin on the Grammies or Shakira on the Latin Grammies.
Anytime when I can define pop culture or have a moment that it's remembered like Jennifer Lopez in the "I'm glad" video where she re creates "Flashdance".
Anything like that, where people sit up and talk about it. Those are my kind of proudest moments.

MT: Which one is more challenging to you, working on a tv production, choreographing a video or directing a tour?

JK: I love directing tours. You have the live audience. Oh man there's nothing like seeing the live audience happy.

MT: Do you regret not being on stage as a dancer anymore?

JK: No, I really like what I do now. Actually lately I've been having to dance a lot because of the "Nike Rockstar Workout" I promoted. So I have to dance and little shake my ass.

But I would never want to go back to dancing on tour or dancing in music videos. It's not for me. I did that and I've moved on. I love it but that was a different time in my life. I really like telling people what to do.

MT: So you have a sort of different relationship with the audience now.

JK: Oh yeah, I like to tell the story. I like to tell the people what to do and I like to tell the story.

MT: You were mentioning Nike before. Would you like to tell us more about this project?

JK: First of all Nike is a huge billion dollar company, everybody knows Nike worldwide.

I'm the spokesperson and the creative consultant for Nike Woman and I have an endorsement deal with Nike for two years. So what that allows me to do is create and develop a dance line of clothing, shoes and apparel for them, which is amazing for anybody who is a choregrapher or a dance person.

The fact that I have that position is very coveted and wonderful and I design workouts for Nike, it's called the "Nike Rockstar Workout".
I'm able to do that and Madonna actually came to one of my Nike showcases in New York City.

I did a big launch of the Nike Women and Rockstar thing and Madonna came to rehearsals. (Laughing) She was so funny, she goes: "What are you doing? How I come I'm not in this? Having a concept without me". She was so funny and cute.

Anyway it was really nice to have that support but the main thing is that this Nike thing is a huge launch for dance, for the dance community, spreading the idea of Dance as a sport around the world.

MT: That's really cool.
Let me ask you another thing. Is there an artist out there you didn't work with yet and would like to do so in the future?

JK: I've worked with so many. I don't know... maybe in my next life, you know, if you believe in past life and next life.
I've worked with so many great artists. It would have to be somebody who is not alive. The one that comes to mind immediately when you say that is Gene Kelly.
Actually I'm a huge Gene Kelly fan so if I ever come back reincarnated and have the chance to meet him in another life that would be a blessing.

MT: How does it feel to be Jaime King now? Did you change since the beginning?

JM: I feel the same. I feel I'm just starting out.

MT: Jamie, thank you very, very much. It was a honour to have you here with us and we wish you all the best for everything.

JM: You're welcome, thank you. Ciao Ciao.