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!