在《中国冰雪记忆》中看到当年Miller来华给申赵编图兰朵的片断很感慨，如果说申赵的成就是很多人共同努力的结果，Miller长达五个赛季的编舞绝对是决定性的一环，没有她的贡献，就没有破茧成蝶的申赵。
这是2002年初的采访，据说Miller还给lulu编过《末代皇帝》，求证？？
Ask the Choreographer!
Well-known choreographer Lea Ann Miller, who recently choreographed "A Skating Tribute," answers your toughest questions about choreography. Miller was also a four-time medalist at the U.S. Championships in pairs. The response to Kids' Questions continues to be impressive, so keep those questions and photos coming every month!
 | | Lea Ann Miller |
Q: How are you able to come up with all these ideas for the programs you choreograph? David Miller, 14, Lockport, N.Y. LM: Most people would guess that the ideas come from the skaters and music only. I draw from all art forms and being open-minded. I go to the theater, many dance performances, art museums, concerts, and I go on walks to people-watch. You can lie on your back and watch the moving clouds ?skate? for you, or realize that a tree moving in the wind can relate to the opening move you were looking for. My point is, I keep my choreographic eyes open, especially when I'm not in the rink.
Q: What was the most challenging program you had to choreograph, and what made it so difficult? Kirsten Seagers, 8, West Chester, Pa. LM: My most challenging program recently has been working with the Chinese pairs team (Xue Shen/ Hongbo Zhao). They didn't speak English, and although they were very open and tried everything I asked, they have spent most of their career working on the technical side of skating. Style takes years to develop. Choreographers can't always make the difference in one program. I spent a lot of time [with them] off ice. With an interpreter, we talked about the passion of skating and the way to show emotions through choreography. I knew that when I left Beijing, they needed to understand what we were trying to do. Renee Roca and Gorsha Sur helped by demonstrating ideas and moving in a way I hoped Shen and Zhao would understand. I really care about this team, and I tried to make a difference in their skating. They picked the music that they could feel, and I gave them ideas to grow with. Sometimes that's all you can do.
Q: It's always been my dream to become a choreographer. What advice could you give me in order to become as successful as you are in the business? Alysa Wiesner, 18, Eden Prairie, Minn. (pictured) LM: You have already taken the first step to becoming successful at anything ? dreaming about it! (Many of my ideas come in the middle of the night, so I keep a notebook in the nightstand.) My advice to you is jump in and try. Offer to choreograph for your friends or young skaters (for free), be willing to experiment, and don't ever get discouraged if you have a bad idea. Sometimes the bad ideas lead to brilliant ones! You have to have tough skin, because not everyone will like what you do at first. Part of your success is up to the student and how he/she relates to you. Sometimes it takes awhile to find the one that will give you the chance and really believe in you. Once you have the reputation, it is easier.
Q: When choosing music or helping a skater choose his/her music, what do you look for? Is it more of their personality off the ice, or the style that looks best on them on the ice? Grace Chun, 17, Irvine, Calif.; also Justina, 12, Orlando, Fla. LM: I always like to work with the skater when choosing the music. It is part of the learning process. I would never hand a skater the music and say ?this is it? because if they don't like it, I don't know how it could be successful. Music is 80% of the choreography. Take the time to find the right music. I always ask the skater what they like to listen to and to bring in a few music choices for skating. Then, with some of my ideas, I advise what could work best for them. Always listen to the music at the rink before doing the final edit. Things often feel different on the ice. I can tell by watching a skater stroke to a piece of music if they feel it or not. Sometimes my first choice doesn't work on the ice ? that's why it is good to have a few choices.
Q: Is it difficult to think up movements off the top of your head that will go smoothly with the music? Do you get frustrated when you can't think of motions? Ashley Johnson, 12, Arvada, Colo. LM: Once I have the skater and music, ideas always come. The challenge is, are they good ideas? Sometimes the next day I start over once the working relationship between the skater and me develops. I always tell the skater to expect change. The first day's work is the hardest. Once I sleep on it I can fix what didn't work, or trust my gut and keep on going. Sometimes I feel burned out, and it is better to take some time off to regroup. That's when I go to the theater and enjoy other choreographers' work.
 | | Miller with pairs partner William Fauver |
Q: What is your favorite thing about being a choreographer? Sarah Brew, 15 LM: Just like being a skater, when you work hard and the final product has success, then all the time and effort is worth it. I love when I do a show and the music, costumes, lights, concept and skating come together. The audience applauds, and you feel like you have really done something. It is the same when a skater you work with skates well ? you feel this rush of emotion like you skated with them. I don't like going to the competitions ? I still get nervous. So I let the coaches have that job. But I do enjoy the shows and watching on TV!
Q: What was the most enjoyable program to choreograph and why? Alan, 9, Fort Myers, Fla. LM: I have three skaters I would like to mention, for they each have a different and special meaning to me. First, Roz Sumners because she believed in me early on, and we have worked together for over 10 years. My favorite program I did for her in Stars On Ice was ?Beautiful Goodbye.? Thanks, Roz. Next was a skater that asked for a professional makeover after winning the World Championships, Yuka Sato. We did a program called ?Sozo? that she skated in the World Professional Championships to a standing ovation. After that I felt like a real choreographer. Thanks, Yuka. And thanks to John Nicks. I worked with Jenni Meno and Todd Sand on ?Nessun Dorma? that earned them 6.0s for presentation at the U.S. Championships (my first 6.0 ever). How lucky I have been!
Q: How do you decide which jumps, spins and footwork to use and where to put them? Do you ask the skaters where they would prefer them? Vanessa R., 11, Smithtown, N.Y. LM: It is important to ask the coach and skater what their strong and weak elements are. You never want to end a program with the worst spin or jump. I respect the fact that the jumping is important to the overall program, therefore I want the skater to be comfortable with the placements of the jumps and spins. Again, we always work together to come up with a good balance ? this way the program has a better chance of staying true to the original choreography.
Q: My coach skated with you in the '70s at annual summer camps, and she says you were always a very artistic skater. When and why did you decide to focus on choreography? Gina Gutierrez, 13, Hartville, Ohio; also Kathryn McGee, 13, Grand Rapids, Mich. LM: Yes, I always liked the choreography more than the jumping side of skating. Just ask my coaches! Maybe that's why I do what I do, but I never really thought I would be a choreographer. When I was skating in Stars On Ice, Scott Hamilton let me try out an idea I had for the company (that was over 10 years ago). I guess it worked because I haven't stopped working since. My advice is: Love what you do, and you will be successful at it.
Q: I am very interested in the art of choreography, but I have problems flowing. I have the technical talent but no flow. Can you give me some advice on how I can flow better with the music? Kara Renee Francavillo, 11, Chicago, Ill. LM: Try this: Pick some music that you really like, and that you feel has flow to it. Either put it in your Walkman or play it over the system, but make sure you can really hear the music. Just move to it. Don't over think, and don't look at anyone else around you. Just completely lose yourself in the music and flow across the ice like the music tells you. Flow and movement is a feel, not something that is taught. Listen to your body and the music. Never be shy when moving. Remember, you are an actor and the way you move only reflects the music you hear. Have fun!
Q: I watched ?A Skating Tribute? on TV and was very moved by the group segments. Was it hard for you to choreograph something that emotional in relation to Sept. 11? What did it mean to you to work on that show because of both the Memorial Fund and Sept. 11? Janet, 17, Chicago, Ill. LM: Since I benefited from the Memorial Fund while skating, and I was in New York City on Sept. 11, you can imagine how meaningful being involved with the tribute show was to me. I had little more than two hours to put the group number together, but I drew on talented skaters and being well prepared. I was honored when ABC showed it on TV. Often the group numbers don't make it on the air because they are difficult to direct. Thanks to Doug Wilson, the director, my special gift was shown. | 
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