Celine Dion: Live in Las Vegas: A New Day... (2007) - full transcript

It started in 1999,

and I was doing a world tour.

And we were finishing this tour

in December 31st.

At the end of this night

we were about to leave for Vegas.

We had decided to bring all our families

and friends to Las Vegas

to have fun, to get into year 2000.

This is the first day of a two year off.

I was about to take two years off

to take a break,

relax and try to have a baby

and then, who knows.

We decide to go to see

the Cirque du Soleil, the show O,

from Franco Dragone.

The show was finished and Céline

wouldn't move, you know.

She stayed glued to her seat,

crying and laughing,

it's an incredible show.

I look at my husband and I say,

"If I come back in show business

this is the type of show

I'd like to do."

I insist to go backstage

and to say hello

and to congratulate all the performers.

And I say "You know, all of you guys

are so amazingly talented and generous

but you give beyond your talent.

You changed a bit of my life today."

I took the initiative

to write her a letter,

in order to tell her

how much I appreciate

her attitude towards the artists

and also that it would be a pleasure,

and an honor for me

if one day we could just meet

or even dream, or think,

maybe to do something together.

I thought that it was

an incredible coincidence, destiny,

so I gave him a call,

invited him to come to see us

when he would come to the United States.

And he came to our house

in Florida, we met.

I said "You wanna work with me,

I'd love to work with you."

It was really, we say in French,

a "coup de foudre"

which is really, you fell in love

with these people very fast.

Céline and him started talking

and dreaming.

We talked very fast

about doing a project together

at the size of O.

So my job was to get the deal done.

The deal that was done

for A New Day with Céline

was the biggest contract ever negotiated

for an artist

for a live entertainment deal.

So it was the biggest deal

in the history of the music business.

We were talking about an investment

of over $300 million.

When you consider

the magnitude of the deal

it's pretty amazing in this day and age

that you can find people

that, in one meeting

you fall in love with the vision,

fall in love with their personality

and you shake hands on a deal like this.

If you're gonna gamble,

Las Vegas is the place to do it.

When I heard of this deal, we didn't own

Caesars Palace. We were a competitor.

It was such a big deal,

there was so much money involved,

in building the Colosseum and

in what Céline earns out of the deal,

that it struck me originally

as enormously risky.

And it was unprecedented that you could

sell more than 4,000 tickets

to one performer's show,

five or six nights a week,

weeks and weeks and,

in fact, years and years.

So it was quite a stunning notion.

I was, in fact, a little skeptical

when I first heard about it.

It has been successful

beyond anyone's imagination, really.

So once we had all agreed on the deal,

we were very excited

and Franco started working.

We began the casting

and we did, I think,

we auditioned 1,000 dancers...

...I think all over the world.

We danced our butts off.

It started off interesting.

We just had to walk.

And from walking across stage,

people were getting cut already.

From 1,000 people,

we had to go to 50, 58.

Everybody came in Belgium.

We begin with the dancer,

really to create

different vocabulary,

different choreography.

There was an electricity in the air

and we knew

that we were all part of something

and we had the time to bond together.

Everyone was on a level playing field.

Everyone had sort of come there

from all different parts of the world

and different backgrounds

and we just knew we were

gonna be part of something great.

Everybody started to work

on that project. Then I got pregnant.

And then I started to realize

that I haven't had a life before.

When I had my son I didn't want to...

...l didn't want to perform

in Las Vegas anymore.

I just met the most extraordinary...

I had a life for the first time.

I knew then that I wanted

to have more success as a mother

than a singer.

And...

I told René that I didn't want

to do that anymore,

and that if it was possible,

to kind of stop the project.

Finally, he came back to me and he said

"You know, it's too advanced.

There's too many people involved.

It's too much money,

and I'm afraid to say that...

...we'll have to go on with it.

It was probably one

of the hardest moments of my life

as a... as an artist,

because all my life before

having a son, before having a child

that's all I wanted, I wanted

to succeed, I wanted to perform,

I wanted to be part of the biggest show,

I wanted to be busy

and express myself through music.

And I realized

that it was more than that

in a life, in my life now.

And it was hard.

And my son was born and...

...I had to face that new journey.

I hoped for a year but we already had

engaged ourselves to two or maybe three.

I don't even remember.

We moved to Vegas,

my son was a year and a half.

Started to rehearse, we went to Belgium.

In October, November,

I think, 2002,

Céline, René and all the family

and the little René-Charles,

they came in La Louviére

and we presented to them.

Thank God for Céline, she walked in

and, first of all, we just

all did a standing ovation.

And it was great because she walked in,

not as the diva you would've imagined.

She didn't have any makeup on.

Immediately, she took off her shoes

and she welcomed us instantly.

WE felt that connection with her.

And we were just so grateful that this

was the woman we were working for.

She was so positive and we got to show

her what we'd been working on.

And her response was unbelievable.

She was wiping her eyes, she couldn't

believe how beautiful it was,

like, she was just so excited

and her excitement for the project

just rejuvenated us,

it rejuvenated our spirits.

And that was so badly

needed at the time.

And thank God for Céline.

You are an inspiration

because what I'm not capable of doing,

you're doing it,

you're doing it with me,

for me, for you, for us.

And the most thing that I'm sad about

is I won't be able to sit every night

in the audience to look at you

because I'll be with you onstage.

But I might do this.

I have to say that

until Céline and Reneé

arrived in Belgium,

I was still,

I don't know, this project

was still a kind of abstraction.

Maybe real, maybe not real.

Then, when I saw Céline

and René in Belgium...

I say "Il think this project, it's real."

Once I commit myself

I wanted to finish it, professionally.

I'm gonna go and finish it all.

I'll do it all the way.

And in December of 2002

everyone moved here in Las Vegas.

The theatre was ready.

The construction of the building

took exactly 14 months

from where it was a hole

in the ground to a finished theatre.

This is something that can't happen

anywhere else in the world.

Las Vegas has the ability

to fast track construction.

The theatrical consultants

for the building was Scéno Plus

and they were responsible for

the original conceptual design

of the building.

A round building,

two balconies, 4,000 seats.

So our theater has twice as many seats

as the Cirque du Soleil O theater

but the furthest seat is only 120 feet

so it's a more intimate theater

for twice as many people.

One of the challenges we had when

we put the sound system together

was the fact that the theater is round.

When you're a sound person a round

building is really not fun to work with.

You have many reflections,

all coming back to the center

where Céline is standing.

So it took us quite a few times

to get the speakers at the right place

where we could actually have the echoes

not coming back

straight at her but more diffused.

So that was a big challenge

to the thing.

I saw the theater. Beautiful.

Great big machine, impressive,

motivate me a lot.

In the same time impressed

and stressed me.

It's a big challenge for a singer

to perform in the desert,

to perform every night

in a dry environment.

So my specification for the Colosseum,

for the theater,

was to have humidity

onstage every night,

and for sure humidity

in my dressing room every night.

So very often

before the shows and after the shows

I have a machine...

...that I do some Broncho Saline.

I humidify my nose

with saline every day.

The desert, it's better

to do it a couple times a day.

And I also do the Broncho Saline one.

So I do a couple squirts of saline

into this little machine that I breathe.

So it's not oxygen. It's saline.

So it goes through my vocal cords,

the back of my throat,

larynx, the lungs

and it goes into the bronchial.

And it moisturizes everything.

It's very important.

The scenic designer for Franco Dragone,

Michel Créte, came up with the idea

of being able to see

the entire performer

and the surface of the stage and the

back wall of the stage, the screen

as a way of building the context

to put Céline's music into.

And so he came up with the idea

of using a raked stage.

And our stage is at 5.7 degrees,

which is about twice as steep

as even an opera stage.

The most difficult stage

I've ever performed on.

Actually, I think a lot of artists,

some left because it was too hard.

Took about three months

to adjust to that.

That's one of the most difficult things

of this show, is dancing

repetition on that,

because of the impact

on your joints, night after night.

Everything's gotta give and just the

angle you land changes everything

and it's quite difficult.

The original concept

for the back wall of the theater

was that it was going

to be a big, white cyc

and we were going

to be projecting video on that cyc.

And that would be how we would

change the context of the songs.

But me as a lighting designer,

I was like

if you put a big white wall

and I have dancers going

and the cross lights and everything,

it's gonna be a nightmare for me.

So I was really pushing

for another type of technology.

So Yves proclaimed

that what we really needed

was an LED screen.

And everybody kind of winces

because it's just huge money.

I had another discussion with one

of the accountants of the company

and he was giving me shit,

"You're crazy to make René

and Céline spend that amount of money.

And are you nuts?"

He said at the end of the phone,

he said "But, you know what?

I just talked to René and he wants it.”

So I was like, oh,

I have René on my side.

We're looking at about $10 million.

And...

...René kind of nodded his head.

And he went back to Phil Anschutz

who had already paid

for the millions of dollars

that it took to produce the show

and said, "Phil,

you wanted the best show

you could possibly have in this theater

that they're building for us.

And the only way

we're going to be able to do that

is to buy an LED screen

and it's gonna be $10 million.”

And René

is a salesman and a gambler

and he was able to convince Phil

to come up with that extra $10 million.

And it was the best money

he's ever spent.

So, when I received a "yes",

we were able to say that,

OK, A New Day, Céline Dion

will have the biggest

indoor screen in the world.

The rumor on the strip,

as people like to say around here,

was that now that we had come up with

a show that was so much more expensive,

so much bigger, so much more,

that it couldn't possibly work.

A few weeks before the opening...

...everyone was very nervous.

Our partners were nervous

because we're talking about millions

and millions of dollars,

not knowing if this show is gonna work,

if this formula is gonna work

in Las Vegas.

People at Caesar's Palace

who built the theater for this

and invested a lot of money

were nervous,

and I can understand them.

Franco was very nervous

because, you know, it's his

responsibility, he's the director.

First rehearsal with Céline,

I could not stay more

than ten minutes in the theater

because it was really for me, I could

not breathe. I had really panic attack.

So I was so...

...I realized how much

the myth...

...Céline is so universal,

that I was really scared.

Unfortunately, two weeks prior

to the premiere, I got really sick.

And I got sick with the bronchitis

and a sinus infection

and asthma and the whole shebang.

And I was brand new in Las Vegas,

I was not adjusted

to the climate over there.

Living in a desert, singing

in a desert, it's quite difficult.

Sinus problem,

one after the other, I got really sick.

So that two weeks of rehearsal,

I was in bed, waking up every four hours

to do treatments for asthma,

doing like stuff for my nose

and breathing humidity

and it was a mess.

She had a problem with her voice.

We lost a few weeks of rehearsals.

So it was really a puzzle...

...to manage.

And we arrived at the premiere

very vulnerable.

Premiere time...

Makeup, hair, dress,

I don't even know if everything fits.

It's beyond... I'm not... I'm not ready.

I don't know if they were but I was not.

My parents, both parents are there,

the whole show business is there.

And I'm saying to myself,

"I have nothing to lose.”

If it... If it doesn't work

and it's terrible,

I go home to my son and sell everything

and I start all over again as a mom.

She was reassuring me.

She was really... she took the place

and she was the, I'd say,

the mother of the family.

She, she say, she encouraged everybody,

when everybody were more stressing.

You know, this is what really...

...really impressed me very much.

The opening night, 2003, March 25th.

Big night, everybody

was very nervous, of course.

We thought everything was in place.

Well, so we sent Céline

for the opening on the show,

onstage everything was working fine.

And for one of those changes

she'd come out to do the quick change.

And there was a very fast one,

something like 40 second quick change.

No shoes.

There was someone,

one of our technicians, I think,

I don't want to put the blame on someone

but he just moved a pair of shoes.

because it's pre-set, you know.

You have shoes, we have, you know,

pants and blouse

and everything, shirt, right there.

So the shoes were moved

maybe five feet away.

But excitement and the rush

and we didn't saw the shoes.

So Céline put pants on, shirt,

and I sent her onstage naked,

you know, barefoot.

Here I am onstage,

bare feet, and I say to Mom

"Don't worry, Mom, I'm fine.

Anybody wear a size 38 in the audience?"

Everybody started to laugh, and finally,

Titoff, who is like the messenger,

comes onstage with my shoes that

they found three, four minutes later.

And I'm giving him the microphone

and I'm putting my shoes

and I'm on the edge of a step.

And I said "OK, fine." And...

...people thought,

because I made jokes with it,

and they thought it was part

of the theatrical aspect of the show.

In opening week, in March of 2003,

we used to stand out in the lobby

and listen to peoples' comments,

just going out to gauge

what type of a show we had,

whether people were happy with it,

didnt like it, whatever.

And a lot of comments were,

"lI don't know why

they have such a big production

because I only came to hear her sing.”

In show business, it's the public

that decides everything.

And when they came here,

they wanted to see Céline,

they wanted to hear her sing her hits.

And the magic of Franco

is that he found a way...

...finally, to take advantage

of Céline's charisma and great talent

and blend it with 50 people onstage

and produce a unique show

that has never been seen before.

The most important...

...problem to solve

in the show with Céline

was the balance between

theater, I would say, and concert.

You must wonder,

"Where are the musicians?”

Here they are!

The first shows,

the musicians were not onstage,

something that was

really frustrating for the band,

because we used

to be the show, you know.

Like on tour there was no dancers,

we do the show.

So being hidden at the time

was very hard

on the musicians' egos.

And so we discussed it,

we discussed this matter.

We worked on this to bring them

more and more into the show.

I would say that at the beginning,

the connection

between dance,

circus, like Cirque du Soleil,

pop singer,

the connection was not done.

It was like three separate worlds.

And we had to bring

this together, you know.

I really think that now the balance

between concert and theater

are much more interesting.

I stopped flying

because I needed surgery.

I loved flying

because I love to do hard things

and I love when,

not to put my life in jeopardy,

but to challenge myself, actually.

To put a harness every night

and to fly six stories

and try to sing

and be strangled in my belly every night

was quite a technique challenge for me.

I had to quit doing it

because it was dangerous.

At the beginning of the project,

Céline and Franco thought about

Céline having a new look.

So, you know, I was listening,

I thought it was a great idea,

until I learned that the new look

they were talking about was

cutting her hair short

and dye it blonde.

At first, it was a technical situation.

The stage pushed my hair forward

and I always had to play with my hair

to get it out of my face

and people could not see my face well.

So it was probably

the most expensive hair color

and hair cut in the whole industry.

And it cost a lot of money

because everybody hated it

and we did a DVD video show

with the short, white hair

and we had to throw it in the garbage

because it was terrible.

Every time I saw her onstage,

if I would've been thinking

only as her manager,

I would've insisted

on both of them

to really push my point

about the image.

But Céline was so excited

to change something, to start,

you know, with a new look,

and so into it and so happy about it

that the husband took over.

And I wanted her to be happy

and love what she's doing

and get into this project

with the right attitude.

So I said, "OK, if you wanna do that,

sure, go ahead, do it."

Well, I decided to go back

to my original,

kind of like long, brown hair

because I...

...well, people hated it, actually.

And my husband's partner,

Dave Platel said to me,

"You know, don't take it wrong.

You're not a hairdo.

You know, it's, people hate it and...

It's because you're

probably the only thing

that doesn't change in their lives.

You're stability for them.

Her core fans, who own Céline,

they love her for who she's been

for all of their lives.

They've been following her

for 15, 20 years, and

it was a bit of a shock to them.

So eventually, we had to,

you know, revert back

to what everyone loves to see her in.

She looked good in the short,

blonde hair, you know.

But the fans weren't ready for it.

They wanted their Céline.

The public has the last word.

Today, we have a show that it's a look

that is a kind of a conclusion,

a result of several input

and Céline being the leader

of the costumes.

To freshen up the whole thing

we decided to change the costumes,

new hair, extensions

and new makeup

and work with my stylist Annie Horth,

that I used to work with.

And ask Serge Normant

to come and recreate the hair.

And ask Zane, my stylist who's doing

my own hair every night

to re-adjust and help me

to go through this every night.

To ask Scott Barnes

to kind of redo the makeup for me

and show me, to do a new way and,

so designing new makeup.

I think before it was more theatrical.

The show being very theatrical...

...for the last year,

I think Céline wanted

to have, you know,

a more fashionable and modern approach

to her looks for the stage.

For the change for River Deep

we have a dress, very short

in metal, it's all in chains from

Alexander McQueen.

Céline looks fantastic in it.

She has amazing legs.

So it was very exciting to add

this very sexy number to the show.

That strength, sex appeal, everybody...

...walking forward and like lights

coming down onstage.

It's a different color

from the whole show.

There's a moment we're all around Céline

and the fan is blowing on her

and we're all doing this movement

and you just feel her energy.

And we can look at each other and so

the rapport and the connection we have

amongst all the dancers

with Céline at the center.

It's very symbolic, really,

of this show,

that Céline is the center of our world

right now and we owe everything to her

like we're all praising her

and thanking her.

She's living and we're living.

Get the stick out of the microphone,

turn my back into the audience,

look at my dancers...

Shiny legs,

shake the behind a little bit.

Of course, the manager in me

thinks that it's...

...a great number that people love,

great production, great ideas.

But the husband really thinks

that his wife is beautiful

and she looks great.

Our show has many, many stories.

We've been together five years now

and we've been living life together.

There are some good secrets,

some good stories.

One of the stories I have is a couple

of years ago Céline became ill.

We cancelled the show for about two

weeks. It was pretty serious.

And the dancers were concerned.

We wanted to show her

that we were thinking of her.

We wanted to show her that we were

concerned, we wanted to cheer her up.

So we decided

that we were gonna send her a card

and we were gonna send her a cast photo.

So we all got onstage

and we took off all our clothes.

And we took costume parts and pieces

and we strategically placed them, maybe

they were hands or other peoples' hands,

you know, on certain parts and we

had a blast doing this photo shoot.

And, of course, you know our show

is called A New Day.

Well, we sent her the card

and we sent her the photo

and we lovingly re-titled the show

A Nude Day

because we just wanted Céline

to know that we felt naked without her.

During Seduces Me,

Céline's sitting in a large chair

and we have only male dancers coming in.

I came,

I tried to follow all those dancers,

I was the one just before the last one.

I was, you know, like the other guys.

But I was trying

to keep my belly in. I was like...

You know, like a dancer, because dancers

have a shape not like mine, you know.

So I was walking onstage

and when I just go through,

you know, Céline,

I was walking up from the chair.

She was thinking about

what the song was.

Didn't see me yet, and then,

when she opened her eyes

I was just up front of her

and I let my belly go, like...

You know, and she was,

"Ten seconds after I have to sing."

Can you imagine in your head, try to

control the laughing and everything.

That was amazing.

That was my brother.

There's a thing I could say because she

probably won't hear that before it's out

and the secret

will still be here with us

until the DVD is out.

We changed the time on her clock.

It's five years

she doesn't know about it.

Five years that her clock

is three minutes earlier.

It makes a big difference,

three minutes is the world for us

for her to be ready

a little bit more on time

and she doesn't know it until this day.

So that would be a surprise.

Il am so in a rush.

Almost there.

Almost there.

During the course of our stay here,

there are celebrities that come,

not every night but on and off.

Some want to be noticed

or Céline will introduce them from stage

and some don't want to be...

Incognito,

you can't even tell they're here.

Anthony Hopkins was gonna

be in the house and we decided,

well, what can we do? ‘Cause he didn't

want anybody to know that he was there.

But we wanted to do something

so he knew that we knew.

I went to wardrobe department

and they made up a shirt

that tied like a straightjacket.

And then, they went and got a mask

and put a mask,

just like Hannibal Lecter did

and then, we used a regular dolly,

they strapped me in

with a loading strap

and during the tourist cross,

which is when

all the tourists run across stage,

they wheeled me out first,

two guys wheeled me out and set me up

and Céline never knows

what's gonna happen

and when she came down center stage

I was leering at her

like Hannibal Lecter would

and she screamed.

And they turn around

and walked me off.

And then, after the show,

I ran out to the lobby.

I took my mask and I went up to Mr.

Hopkins and asked him if he'd sign it,

which he did gracefully.

And security staff

said that all the way to his car,

all he could talk about

was what happened onstage.

Can you call?!

One of the many guests that we had

that struck me the most,

was when Mikhail Gorbachev

went to meet Céline with his daughter,

who's a really big fan of Céline.

They were both just standing really

straight, they didn't sit down.

He had a security guard, the

interpret, his daughter and him.

I couldn't believe that you've got

this guy who changed history

was there meeting Céline

and he was meeting her as a fan.

And he was happy to see Céline.

That was a big moment for me.

Of course, so many celebrities

from Hollywood came.

Oprah came,

Michael Douglas, Arnold Schwarzenegger

came, Michael Jackson even came.

I want to impress them,

I want to impress myself.

I want them to think, "Oh, my God!

It was so good, so good."

I want to impress them.

You know, I'm proud.

A very emotional moment came

when her father passed away

on November 30th, 2003.

You know, we told her that of course

she doesn't have to do the show.

And she insisted

on doing the show that night,

‘cause she said,

"Dad would want me to do the show.”

Tonight is a very special night for me.

It is also...

...a very difficult day.

I've lost my dad this morning.

...insisted on coming.

My dad...

...was, and still...

...is my number one fan

since I'm a very little girl.

And...

And I know that...

...my dad would have wanted me...

...to be here tonight,

onstage, with everyone I love,

doing what we love.

And...

We always think that we're so strong.

But...

... know that he is here.

And I will tonight,

perform the very best I can.

And I will give everything I have.

And I would like to...

...to dedicate this show...

...to him.

People were in pain as much as I was.

It was awful. But I did it for my dad.

I love you, Dad.

I collapsed backstage after the show.

Thank God my brother was there.

That night I was not stage manager,

but I was Céline's brother.

And I'm very proud of it.

And from that night, you'll see Céline

every night doing a little sign up there

because he's over here,

over the Colosseum Las Vegas,

and he's taking care of her and me and

all the band members and all the family.

I would love to dedicate

this next song

to all the parents

and children of the world,

and especially my very own,

René-Charles.

I have to say that my son

was having a hard time

with music when he started his life.

And the reason why

is because I was, actually,

he didn't have any problems.

I was having a problem

with coming back in the industry

after finding that my most amazing

pleasure in life was to be a mom.

And this difficulty that I had

to come back in show business,

my son went through this.

When he was ready, he said to me

"I wanna go and see the show."

And I said "Which show?"

He said "Your show.”

I said, "Oh, all right. When?"

He said "Now. Tonight."

"Well," I said,

I didn't want to be so impressed

that he would change his mind

so I said

"Sure, but I leave in ten minutes.”

He said "No problem, I'm ready.

I'm like...

So it was the first time in my life

that I was nauseous.

We all left together,

he had his tickets in his hands,

I was getting ready for the show.

When this show started,

my smile was hooked to my ears.

It was the first new day of my life.

And...

I realized that my son

has accepted me...

...as a singer.

It was one of the best days

of my career.

I went in the audience after

the show like every night.

And I give the rose to someone.

That night, I gave the rose to my son.

And I took him in my arms

and I went back onstage,

I waved good night,

we went home

and we never talked about it.

Since then, my son

is successful as a human being,

he's a happy kid, he's totally well,

and I'm much better,

because I can perform, I can be free

and not worry.

And... the best is yet to come.

We're good.

We're leaving Las Vegas.

And she's the hottest act in Las Vegas.

You know, year after year

she's been voted the Entertainer

of the Year in Las Vegas,

the Show of the Year in Las Vegas.

That's unusual because usually people

come here, if they've got a good show

they're gonna stay, some acts

have been here for 15, 20 years,

some even longer.

So it's unusual for us,

for an artist of her stature

to come to Las Vegas, to begin with,

and then to leave

at the height of her career

or the height of the Las Vegas show,

is also unusual.

So this past five years,

it's a historical moment for sure.

Céline Dion's arrival at Caesars

Palace really initiated the revival

of the property as one of the preeminent

gaming properties in the world.

She's one of the preeminent superstar

celebrities and performers in the world,

The fact that she would take up

residence here and perform nightly

in the Colosseum theater really brought

a tremendous level of prestige

and panache to Caesars Palace for our

high-end guests from around the world.

Céline had changed the face of Las Vegas

because for the first time,

you had an international star

at the height of her career

coming here to do a new show

designed especially for Las Vegas.

Now, many many superstars...

...are thinking of doing

the same thing here.

We're very proud to be their partner

and we're very proud

to be what is going to be

the greatest

live entertainment event ever.

A New Day is not ending.

A New Day is just reforming itself for

another venture and another opportunity.

So we'll be back.

You know, the key

to the success of this show

is that everyone involved

has an important role to play.

From the person that deals

with the electric wires,

to the singer, they're all important.

Céline knows that, everyone knows that.

The biggest secret, or perhaps the

question that I get asked most often

about the show and when people

discover that I work with Céline is,

"Is she really as nice

as she seems on television?"

And I have to

unconditionally answer that,

"Yes, it's absolutely true.”

It's not a facade. That's the strange

thing when you meet her.

You realize she's a simple person

that has a true humility and honesty

and she treats everyone

with incredible respect as artists

and as human beings.

I want Céline to know

that this show has been a gift,

it's changed our lives

and we are so grateful.

This company goes above and beyond,

you know, all their obligations to us.

They've really taken care of us

and I'm forever grateful to Céline.

We became a family.

We've lost people that we loved.

Some gave birth to some children.

Some left the stage because it was

too hard for them, physically.

Some had personal problems,

left for eight months,

came back to finish the journey with us.

There was more than shows, there was

more than songs and music and dance.

It was a five-year journey,

and it's a lifetime.

Even though it was tough

to start with, I have to say

I'll miss it.

Hey, guys, what's up?

Well, 1 thought that...

You know, I have nothing

to do before the show.

So what do you think if we do a tour?

I'd love to invite you.

Let's go and take a look.

Only thing I ask for is humidity,

in my dressing room,

at home and onstage.

There's humidity that comes out of here

and it's saving my life.

It's like an invisible wall.

Right now, it's 30 percent humidity.

So, Rick, do you mind to explain to us

every time I go and see you and say,

"Rick, you gotta give me

more humidity, more humidity.”

I'm a little bit rough with you.

Explain to us what's going on.

How does it work?

So we produce our own water,

we have a reverse osmosis system

that makes water

with zero minerals in it,

no electrons, no nothing,

it's just H20, pure water.

Only in the desert.

In the desert. We suck water out of Lake

Mead and we pump it up on the stage.

Oh, shoot!

Oh, my...

That will go on for a couple seconds

and then it will stop.

- Did it jump start the ticker?

- No, but you didn't... I didn't know...

Ladies and gentlemen, this is how it

works backstage. It's gonna stop, right?

- Any second now.

- Any second. One, two...

OK, I lied to you again.

...three...

The claw!

Well, actually, I can have myself

a facial in the meantime.

Look at those guys, they're partying.

Oh, now, you're awake.

Sorry.

Playboy magazine.

No, no, I'm working very hard.

Playboy magazine.

You see, not everyone's

working really hard.

And these are real pearls.

You know, there's no such thing

about having fake stuff, nothing's fake.

We sing for real,

we cry for real, we laugh for real

we love each other for real,

the pearls are real. We love each other.

And this is real.

How are you guys?

- Are you doing homework?

- Yes.

- You're studying, right?

- I'm studying.

I'm studying to be an athletic trainer,

in hopes to be a physical therapist.

But that's a seven year process

and we'll see if I make it that far.

I'm sure you will. I'm sure you will.

You know, Daniela has been, all of them

have been incredibly talented troopers

and more than talented, they've been

very generous and very special people.

Daniela is my stand-in, so every time

we rehearse a new number, for example,

she comes in at two in the afternoon for

me to be able to sleep three hours more.

And she does the work for me.

And I love it.

And I appreciate it.

Every night when we bow, I kiss Elijah

and he's putting white powder on my face

and then I kiss Titoff

and he puts brown.

So I have my makeup,

a white spot of Elijah,

and a red cheek from Titoff.

What's up, what's up, what's up!

What's up!