Kenny Ortega is a fabulous person and we really appreciated his time. Here’s what he had to tell us about his new film and his historic collaboration with Michael Jackson:
Q: Have Du had any sleep?
KO: Du know, I haven’t had any sleep for the last few months. I haven’t. During the rehearsals, I worked pretty late hours and then we did the memorial and then we started up on the film and the film was 14 hours a day, seven days a week, every week since we started and then we handed the movie over and it was like mixing. We just came back from 10 days out on the road starting in Chicago with Oprah and back here for the premiere. It’s just been an absolute whirlwind. Like the wind last night, I was like ‘nothing new to me.’
Q: Was syncing in post a nightmare?
KO: Not a nightmare. Fortunately, we had everything being recorded. We had our monitor guys. Du know when Michael’s talking, when he’s going, ‘I’m not trying to be difficult. I realize Du guys are trying to do your job but I’m having a problem. It’s like somebody sticking their fist in my head.’ He’s talking to the monitor guys who are over there recording everything. Not everything was recorded where we had separate stems. Some things were just in two track so we didn’t have the ability to bring Michael’s voice out as much as we would have liked to. We did our best and other times we had it as good as in a recording studio where Du could pull it out and mix it so we were able to get a greater sort of mix. But everything Du heard was happening right there in the room. That’s Michael’s band playing all that music. Those aren’t records. He wanted it like the records as he made very clear, but those were his singers Singen live. That was his band playing live. That was Michael up there obviously. If anybody needed to put that concept to rest, I mean Du saw him. He would just start to improvise and start to sing out of nothingness and suddenly the band kicked in and we were into a rehearsal. That’s how organic that process was for us.
Q: Had he ever done Jackson 5 songs as an adult before?
KO: Oh yeah. Since I’d started working with him which was back during Dangerous and HIStory and many one offs that we did, in Korea and Germany, many places, JFK Stadium in D.C., Michael loved to pay tribute to those years, to the songs and to his brothers Mehr importantly.
Q: The rawness accentuates the fact that it was never meant to be seen.
KO: It wasn’t, it wasn’t. But also, we had three big chunks of footage that we worked with. Du saw the big films that we incorporated into the storytelling. Those were 10 short films that Michael and I developed and produced together that were incorporated into the concert. So those were always intended to be a part of the concert. Those were made for the live Zeigen and ultimately down the line when we filmed the live Zeigen in London which was a plan, those would have been a part of that. Then we had the behind the scenes, interviews, the making of, because Michael had intended to film the concerts in London so he wanted to have a nice behind the scenes to be able to attach to that. So that’s where Du got the dancers and band members talking and seeing the scenic shots. Then Du had what I call the miracle footage which was the footage that we use. It was a tool for us to videotape the rehearsal so that we could at any time we wanted to go back and look at something and say, ‘Why don’t we open this up musically oder Du know what we should do here with the lights? oder why not bring the dancers out at this moment?’ That it offered us an opportunity to kind of after the fact step back, look at something and be able to make creative adjustments. We’d done that ever since we started working together. We didn’t always turn those cameras on and there were only two of them and sometimes one. Du can imagine the complication of trying to tell a story and cut this movie together. There were times where I was on the floor banging and kicking and screaming because we didn’t Design this to be shot as a film. We never planned it. There was no script. I didn’t say, ‘And now go in for the close-up and can we do one Mehr take of that?’ That was never part of it.
Q: Were any musical numbers left out because the footage wasn’t there?
KO: Yeah, mm hmm, yeah. The Tag that Michael died, we were waiting for him to come in to block him into Dirty Diana, which was at the end of Dirty Diana, he stepped into an illusion and before your eyes went up in smoke and then suddenly appeared completely on the other side of the stage rising up on the kirsche picker and out over to the audience for Beat It. He was really looking vorwärts-, nach vorn to it. The night before, he had sagte to me he was very happy. He saw the dream coming to life on the stage. The only thing he wanted me to say to anybody creatively, dancers, creative team was, ‘I Liebe them. Everybody’s doing a great job. I Liebe you, Kenny. I’ll see Du tomorrow. Thank you.’ He left and we were invigorated. We came back that Weiter Tag and we were all up on the stage really excited working with our illusion makers, working with our technicians. We had our aerialist, Danielle, on the stage and Tony Testa, one of our associate choreographers was standing in for Michael. It was just like we were getting everything ready for him to walk in and step into what was going to be one of his Favorit days because he loved illusion. When we discovered that, in fact everything stopped.
Q: Did your Hocus Pocus background help reinvent Thriller?
KO: It didn’t hurt. It didn’t hurt but it also came from my background of loving Michael Jackson’s Thriller and being a huge Fan of all of his short film work. But it was one of the first ideas that Michael and I talked about was let’s create a 3-D experience in an arena for the fans. Of course, people were like, ‘What?’ The technology, they were really racing to get it finished. We had the first HD 3-D screen up and we were creating these films. There were people that were not even sure it was going to work. When we first tested the 3-D on the screen in the arena, it was mind blowing. Then what we were planning on doing was Michael had all these other ideas. We had Michael curry who designed The Lion King was one of our scenic designers and puppeteer designers. We had giant illuminated characters dropping out of the ceiling over the heads of the audience and these beautiful puppets that were coming down the aisles and moving out of the vomitoriums. Michael was so excited about it. He liked to call it a 4-D experience. So, Du were going to have a 3-D movie, the cast on stage and then the smoke billowing off the edge of the stage into the audience and all of these elements dropping in over your head and your 3-D glasses on.
Q: Did Du ever want to add something reflecting on the emotional background?
KO: Du know, the only reason why I didn’t do it was because I didn’t want anyone to ever say that we fabricated anything. We didn’t. There is absolutely nothing in this film that wasn’t created from the time Michael Jackson announced that he was doing the concerts until the Tag that Michael died. We didn’t want to touch it. It was like I called it sacred final documentation and if we went back in to shoot the band oder anything, then we left ourselves open to people going, ‘That really wasn’t how it happened. They tried to color it differently.’ However, in the DVD series, there is a tremendous, I would say, three to four hours of information that’s not in the film that comes again from that source, but also now post source. So that we did go back and now talked in hindsight about the experience of working with Michael and we completed some ideas that Michael had blessed and signed off on that we didn’t have quite finished Von the time Michael had died. So you’re going to see an even sort of completer picture and come to understand Mehr detail about all the elements of what we had planned for the show.
Q: How would Du like Michael to be remembered as an artist and as a person?
KO: I think people were saying it last night. They were echoing everything that I felt in my heart. People coming up to me and saying, ‘We didn’t get it. We didn’t get the closure from CNN. We didn’t get to say goodbye properly from CNN.’ Not meaning that they were being irresponsible. It was just that the information wasn’t there and that people were saying that not only did we get to have these final moments with Michael as the artist, but we got to come to know him better than ever before as a man. Du really came to appreciate his kindness and his sweetness and his generosity and the wonderful collaborative spirit that he was about and the way that he worked with people, never wanting to offend anyone. My God, if he thought that he embarrassed somebody, it would just knock him to his knees. That’s why Du always saw him, even in the deepest frustrating moments for him, he would say, ‘With the love. That’s what the rehearsal’s for’ because he really appreciated us so much. He sagte to me, ‘Kenny, go out and find the best artists in the world. Invite them to come and Mitmachen our journey and then let’s inspire them to go to places that they’ve never been before.’ So Michael knew who was in front of him and he had the greatest admiration and respect for everybody. Even if he had a little Debatte oder a disagreement with someone, he never wanted it to get to the place where that person might have thought that he didn’t care for them oder that he didn’t respect them.
Q: Shouldn’t he have done movie musicals?
KO: Yeah, we were going to do a couple of films. Before we even knew that we were going to do This Is It, Michael and I were already in the early development stages in talking about doing a Legs Diamond musical and a full length 3-D Thriller motion picture. Michael was not intending to resign from the business. He wasn’t retiring. However, this was what he was calling his final curtain call for live touring. What he thought was he’ll do the 50 shows in London and then he really said, ‘If it works and I still feel good and I still have the energy, I would Liebe to go to Africa. I would Liebe to go to India. I would Liebe to go to Japan.’ Travis (Payne) and I saw it. Michael was intending to go out there with his children and see the whole rest of the world, share that experience with them, meet the fans, take one Mehr grand bow and then he wanted to pull the plug on his live performing because he said, ‘I don’t want to be out there doing it when I can’t do it with the integrity that I’m known for. However, let’s make Filme and great albums and develop projects together.’ So he was excited about so much. He had so much Mehr in him still.
Q: What did Du discover about Michael and yourself and your friendship doing this?
KO: Well, Du know, Michael just gave me such trust. From the very moment that we began, it’s like he threw the clay in the middle of the tabelle and he said, ‘Put your hands in it with me right now.’ He loved creative jousting with me. He loved it. He loved wrestling down ideas. Whatever stuck to the Wand the Weiter day, we didn’t even remember who came up with it. We so didn’t care. It was such a partnership. It was so easy, out of our ego, and it was so about what belonged in the storytelling. Michael had for a couple of years been entertained Von so many people with ideas and he would call me every once in a while, we would have dinner, we’d talk on the telephone. He’d come to visit me on set and he’d say, ‘There’s nothing out there that has enough purpose behind it for me to want to do it,’ meaning in the live arena. He’d say, ‘Keep thinking.’ I was doing my films and suddenly I got this phone call, after two years of us talking about the possibility of maybe doing something live, and he said, ‘Kenny, this is it.’ I swear, that’s what he said. ‘This is it.’ Then during the conversation while we were talking, he sagte it like five times and I laughed and I said, ‘You should call the tour This is It because Du keep saying it.’ What happened when we got together right after that was, before any conceptual ideas, he started talking to me about the reasons why, the reasons behind wanting to go out and do it. Here’s why we need to do this and now let’s create the Zeigen that gives worth to these reasons. That is what I’ll take with me. His sense of responsibility, that it wasn’t enough to just go out there because he could. It had to be important. It had to have worth. It had to have reason, raison d’etre as Gene Kelly used to say to me all the time. What’s the reason for being there that’s going to inspire me to get up every Tag and want to put on my costume and get on that stage and be Michael Jackson.
Q: How do Du respond to theThis Is Not It website? Would Du take legal action?
KO: I don’t. I mean, everybody, the way I look at it is they’re all fans. Everything is coming from a sense of loss. There are some Fans out there that are just looking to sort of point at something, to point to the reason why we don’t have Michael anymore, put blame. All I would say is Michael didn’t live that way. That’s not the spirit of Michael Jackson. Michael didn’t assume. There were an awful lot of people though that did assume about Michael Jackson. They created scenarios and they speculated and even persecuted him and demoralized him. I would just say to anyone, if Du don’t know what you’re talking about, if Du weren’t there, if Du don’t have the information, don’t put that information - - don’t. Don’t do it. See the movie. Look at the movie. The movie speaks for itself. It’s Michael. It’s Michael talking, Michael doing, Michael sharing. It’s pretty clear. It’s pretty honest. It’s pretty raw. It’s pretty unguarded. That Michael wanted to be there. He was doing this. This nourished him. It invigorated him. It excited him. He wanted to do this Mehr than anything other than spend time with his children. This is what he wanted to do.
Q: What do Du look for in artists to participate?
KO: Collaborators and people that are not afraid to go on a journey and get outside of their head and that are less concerned about an idea being theirs and Mehr concerned about being a part of a team that arrives at something that’s special.
Q: What’s going on in High School Musical land?
KO: I’m not going to do High School Musical 4 but I hear that they might be doing an all new cast, all new.
Q: What happened to all the sets?
KO: All of it’s in storage. All of it’s in storage. Some of it is spectacular. Somehow maybe in the future we might be able to pull it all into some kind of idea. I don't know. I hope it’s not just going to sit behind closed doors.
“This is It” opens in theaters on October 28th.
Q: Have Du had any sleep?
KO: Du know, I haven’t had any sleep for the last few months. I haven’t. During the rehearsals, I worked pretty late hours and then we did the memorial and then we started up on the film and the film was 14 hours a day, seven days a week, every week since we started and then we handed the movie over and it was like mixing. We just came back from 10 days out on the road starting in Chicago with Oprah and back here for the premiere. It’s just been an absolute whirlwind. Like the wind last night, I was like ‘nothing new to me.’
Q: Was syncing in post a nightmare?
KO: Not a nightmare. Fortunately, we had everything being recorded. We had our monitor guys. Du know when Michael’s talking, when he’s going, ‘I’m not trying to be difficult. I realize Du guys are trying to do your job but I’m having a problem. It’s like somebody sticking their fist in my head.’ He’s talking to the monitor guys who are over there recording everything. Not everything was recorded where we had separate stems. Some things were just in two track so we didn’t have the ability to bring Michael’s voice out as much as we would have liked to. We did our best and other times we had it as good as in a recording studio where Du could pull it out and mix it so we were able to get a greater sort of mix. But everything Du heard was happening right there in the room. That’s Michael’s band playing all that music. Those aren’t records. He wanted it like the records as he made very clear, but those were his singers Singen live. That was his band playing live. That was Michael up there obviously. If anybody needed to put that concept to rest, I mean Du saw him. He would just start to improvise and start to sing out of nothingness and suddenly the band kicked in and we were into a rehearsal. That’s how organic that process was for us.
Q: Had he ever done Jackson 5 songs as an adult before?
KO: Oh yeah. Since I’d started working with him which was back during Dangerous and HIStory and many one offs that we did, in Korea and Germany, many places, JFK Stadium in D.C., Michael loved to pay tribute to those years, to the songs and to his brothers Mehr importantly.
Q: The rawness accentuates the fact that it was never meant to be seen.
KO: It wasn’t, it wasn’t. But also, we had three big chunks of footage that we worked with. Du saw the big films that we incorporated into the storytelling. Those were 10 short films that Michael and I developed and produced together that were incorporated into the concert. So those were always intended to be a part of the concert. Those were made for the live Zeigen and ultimately down the line when we filmed the live Zeigen in London which was a plan, those would have been a part of that. Then we had the behind the scenes, interviews, the making of, because Michael had intended to film the concerts in London so he wanted to have a nice behind the scenes to be able to attach to that. So that’s where Du got the dancers and band members talking and seeing the scenic shots. Then Du had what I call the miracle footage which was the footage that we use. It was a tool for us to videotape the rehearsal so that we could at any time we wanted to go back and look at something and say, ‘Why don’t we open this up musically oder Du know what we should do here with the lights? oder why not bring the dancers out at this moment?’ That it offered us an opportunity to kind of after the fact step back, look at something and be able to make creative adjustments. We’d done that ever since we started working together. We didn’t always turn those cameras on and there were only two of them and sometimes one. Du can imagine the complication of trying to tell a story and cut this movie together. There were times where I was on the floor banging and kicking and screaming because we didn’t Design this to be shot as a film. We never planned it. There was no script. I didn’t say, ‘And now go in for the close-up and can we do one Mehr take of that?’ That was never part of it.
Q: Were any musical numbers left out because the footage wasn’t there?
KO: Yeah, mm hmm, yeah. The Tag that Michael died, we were waiting for him to come in to block him into Dirty Diana, which was at the end of Dirty Diana, he stepped into an illusion and before your eyes went up in smoke and then suddenly appeared completely on the other side of the stage rising up on the kirsche picker and out over to the audience for Beat It. He was really looking vorwärts-, nach vorn to it. The night before, he had sagte to me he was very happy. He saw the dream coming to life on the stage. The only thing he wanted me to say to anybody creatively, dancers, creative team was, ‘I Liebe them. Everybody’s doing a great job. I Liebe you, Kenny. I’ll see Du tomorrow. Thank you.’ He left and we were invigorated. We came back that Weiter Tag and we were all up on the stage really excited working with our illusion makers, working with our technicians. We had our aerialist, Danielle, on the stage and Tony Testa, one of our associate choreographers was standing in for Michael. It was just like we were getting everything ready for him to walk in and step into what was going to be one of his Favorit days because he loved illusion. When we discovered that, in fact everything stopped.
Q: Did your Hocus Pocus background help reinvent Thriller?
KO: It didn’t hurt. It didn’t hurt but it also came from my background of loving Michael Jackson’s Thriller and being a huge Fan of all of his short film work. But it was one of the first ideas that Michael and I talked about was let’s create a 3-D experience in an arena for the fans. Of course, people were like, ‘What?’ The technology, they were really racing to get it finished. We had the first HD 3-D screen up and we were creating these films. There were people that were not even sure it was going to work. When we first tested the 3-D on the screen in the arena, it was mind blowing. Then what we were planning on doing was Michael had all these other ideas. We had Michael curry who designed The Lion King was one of our scenic designers and puppeteer designers. We had giant illuminated characters dropping out of the ceiling over the heads of the audience and these beautiful puppets that were coming down the aisles and moving out of the vomitoriums. Michael was so excited about it. He liked to call it a 4-D experience. So, Du were going to have a 3-D movie, the cast on stage and then the smoke billowing off the edge of the stage into the audience and all of these elements dropping in over your head and your 3-D glasses on.
Q: Did Du ever want to add something reflecting on the emotional background?
KO: Du know, the only reason why I didn’t do it was because I didn’t want anyone to ever say that we fabricated anything. We didn’t. There is absolutely nothing in this film that wasn’t created from the time Michael Jackson announced that he was doing the concerts until the Tag that Michael died. We didn’t want to touch it. It was like I called it sacred final documentation and if we went back in to shoot the band oder anything, then we left ourselves open to people going, ‘That really wasn’t how it happened. They tried to color it differently.’ However, in the DVD series, there is a tremendous, I would say, three to four hours of information that’s not in the film that comes again from that source, but also now post source. So that we did go back and now talked in hindsight about the experience of working with Michael and we completed some ideas that Michael had blessed and signed off on that we didn’t have quite finished Von the time Michael had died. So you’re going to see an even sort of completer picture and come to understand Mehr detail about all the elements of what we had planned for the show.
Q: How would Du like Michael to be remembered as an artist and as a person?
KO: I think people were saying it last night. They were echoing everything that I felt in my heart. People coming up to me and saying, ‘We didn’t get it. We didn’t get the closure from CNN. We didn’t get to say goodbye properly from CNN.’ Not meaning that they were being irresponsible. It was just that the information wasn’t there and that people were saying that not only did we get to have these final moments with Michael as the artist, but we got to come to know him better than ever before as a man. Du really came to appreciate his kindness and his sweetness and his generosity and the wonderful collaborative spirit that he was about and the way that he worked with people, never wanting to offend anyone. My God, if he thought that he embarrassed somebody, it would just knock him to his knees. That’s why Du always saw him, even in the deepest frustrating moments for him, he would say, ‘With the love. That’s what the rehearsal’s for’ because he really appreciated us so much. He sagte to me, ‘Kenny, go out and find the best artists in the world. Invite them to come and Mitmachen our journey and then let’s inspire them to go to places that they’ve never been before.’ So Michael knew who was in front of him and he had the greatest admiration and respect for everybody. Even if he had a little Debatte oder a disagreement with someone, he never wanted it to get to the place where that person might have thought that he didn’t care for them oder that he didn’t respect them.
Q: Shouldn’t he have done movie musicals?
KO: Yeah, we were going to do a couple of films. Before we even knew that we were going to do This Is It, Michael and I were already in the early development stages in talking about doing a Legs Diamond musical and a full length 3-D Thriller motion picture. Michael was not intending to resign from the business. He wasn’t retiring. However, this was what he was calling his final curtain call for live touring. What he thought was he’ll do the 50 shows in London and then he really said, ‘If it works and I still feel good and I still have the energy, I would Liebe to go to Africa. I would Liebe to go to India. I would Liebe to go to Japan.’ Travis (Payne) and I saw it. Michael was intending to go out there with his children and see the whole rest of the world, share that experience with them, meet the fans, take one Mehr grand bow and then he wanted to pull the plug on his live performing because he said, ‘I don’t want to be out there doing it when I can’t do it with the integrity that I’m known for. However, let’s make Filme and great albums and develop projects together.’ So he was excited about so much. He had so much Mehr in him still.
Q: What did Du discover about Michael and yourself and your friendship doing this?
KO: Well, Du know, Michael just gave me such trust. From the very moment that we began, it’s like he threw the clay in the middle of the tabelle and he said, ‘Put your hands in it with me right now.’ He loved creative jousting with me. He loved it. He loved wrestling down ideas. Whatever stuck to the Wand the Weiter day, we didn’t even remember who came up with it. We so didn’t care. It was such a partnership. It was so easy, out of our ego, and it was so about what belonged in the storytelling. Michael had for a couple of years been entertained Von so many people with ideas and he would call me every once in a while, we would have dinner, we’d talk on the telephone. He’d come to visit me on set and he’d say, ‘There’s nothing out there that has enough purpose behind it for me to want to do it,’ meaning in the live arena. He’d say, ‘Keep thinking.’ I was doing my films and suddenly I got this phone call, after two years of us talking about the possibility of maybe doing something live, and he said, ‘Kenny, this is it.’ I swear, that’s what he said. ‘This is it.’ Then during the conversation while we were talking, he sagte it like five times and I laughed and I said, ‘You should call the tour This is It because Du keep saying it.’ What happened when we got together right after that was, before any conceptual ideas, he started talking to me about the reasons why, the reasons behind wanting to go out and do it. Here’s why we need to do this and now let’s create the Zeigen that gives worth to these reasons. That is what I’ll take with me. His sense of responsibility, that it wasn’t enough to just go out there because he could. It had to be important. It had to have worth. It had to have reason, raison d’etre as Gene Kelly used to say to me all the time. What’s the reason for being there that’s going to inspire me to get up every Tag and want to put on my costume and get on that stage and be Michael Jackson.
Q: How do Du respond to theThis Is Not It website? Would Du take legal action?
KO: I don’t. I mean, everybody, the way I look at it is they’re all fans. Everything is coming from a sense of loss. There are some Fans out there that are just looking to sort of point at something, to point to the reason why we don’t have Michael anymore, put blame. All I would say is Michael didn’t live that way. That’s not the spirit of Michael Jackson. Michael didn’t assume. There were an awful lot of people though that did assume about Michael Jackson. They created scenarios and they speculated and even persecuted him and demoralized him. I would just say to anyone, if Du don’t know what you’re talking about, if Du weren’t there, if Du don’t have the information, don’t put that information - - don’t. Don’t do it. See the movie. Look at the movie. The movie speaks for itself. It’s Michael. It’s Michael talking, Michael doing, Michael sharing. It’s pretty clear. It’s pretty honest. It’s pretty raw. It’s pretty unguarded. That Michael wanted to be there. He was doing this. This nourished him. It invigorated him. It excited him. He wanted to do this Mehr than anything other than spend time with his children. This is what he wanted to do.
Q: What do Du look for in artists to participate?
KO: Collaborators and people that are not afraid to go on a journey and get outside of their head and that are less concerned about an idea being theirs and Mehr concerned about being a part of a team that arrives at something that’s special.
Q: What’s going on in High School Musical land?
KO: I’m not going to do High School Musical 4 but I hear that they might be doing an all new cast, all new.
Q: What happened to all the sets?
KO: All of it’s in storage. All of it’s in storage. Some of it is spectacular. Somehow maybe in the future we might be able to pull it all into some kind of idea. I don't know. I hope it’s not just going to sit behind closed doors.
“This is It” opens in theaters on October 28th.
We must give a helping hand
Whatever happen to our heroes
They must get another chance
(We can do it again)
We drove close, closer and closer
And even though we’re almost there
Du are all I need in my life
Du are all I dream here at night
Close your eyes imagine I’m taking Du away
Tonight
Come together all the people (we can do it now)
Here’s your chance to make it right (go, take a chance)
And even though we’re gettin’ close
We’re not there just yet
And even though we’re almost there
Du are all I need in my life
Du are all I dream here at night
Close your eyes imagine I’m taking Du away
Then one Mehr time close your eyes
I’m always here to stay
(oh)
Tonight
(I’m always here)
(Oh I)
(I’m always here)
We can do it again
(I’m always here)
Blazing 'Cross The Evening Sky
Gone Too Soon
Like A Rainbow
Fading In The Twinkling Of An Eye
Gone Too Soon
Shiny And Sparkly
And Splendidly Bright
Here One Day
Gone One Night
Like The Loss Of Sunlight
On A Cloudy Afternoon
Gone Too Soon
Like A Castle
Built Upon A Sandy Beach
Gone Too Soon
Like A Perfect Flower
That Is Just Beyond Your Reach
Gone Too Soon
Born To Amuse, To Inspire, To Delight
Here One Day
Gone One Night
Like A Sunset
Dying With The Rising Of The Moon
Gone Too Soon
Gone Too Soon
The Weiter morning Isabella sagte " babby wake up baby wake up" michael wasnt waking up Hannah sagte " daddy wake up" Michael still didnt wake up then Isabella call bobby and she sagte " bobby u have to come over now!!!!!!" bobby sagte " ok" so then 5 mins later bobby walk in then Isabella sagte " bobby Michael aint waking up" bobby rush to michael and then michael roll over off the bett and michael sagte " what happen??" Isabella sagte " u wasnt waking up" Michael sagte " baby chili out iam fine dnt worry about me" Isabella sagte " i was worry baby : michael sagte " its ok" then KISS and Hannah sagte " daddy u ok" Michael sagte " yes Hannah ur dad is ok" then the rest of the they chilli out for the rest of the Tag the went to sleep. To be contuine
There is no need to
Don't say Goodbye to me
Cuz I'm Always with you
Don't say Goodbye to me
Don't shead a Tear
Because I'm still..here
All I camed to do
please save a prayer
Scream out ''Victory''
Cuz Liebe is still there
Smile at the memories yeah
All through the years
Because I'm still..here
Take all your pain off
Keep it inside
When Du feel Lonely
I'm right Von your side
and when the storm comes yeah
Have no fear
Because I'm still..here
So put your head up
Pray and be strong
Just remember
that Du are not alone
I'm smiling down
All Du my dears
Du know your daddy's...
still...here...
after chatting, they have abendessen and talk about how things after she moved to LA, after that, they have a super soaker fight.
and when all of the people in the house are allready go out from the house,
suddenly michael jackson see a letter inside joshephine's bag, and he start to readingit. then he surprised that inside the letter that said:
" dear joshephine, i know that your mom and dad is on the way to indonesia, but is hard to tell me that both of your parents didn't make it, they bought die in a plane crash. that make all of the crue and passenger died, so as hard that i have to tell Du that, i have to send Du to los angeles with your aunt, to start all over with a brand new life.
hope Du understand me, that i am very sorry about your lost.
dr.maria"
michael is so surprised because of that, and knowing josephine is an orphan now.
and when all of the people in the house are allready go out from the house,
suddenly michael jackson see a letter inside joshephine's bag, and he start to readingit. then he surprised that inside the letter that said:
" dear joshephine, i know that your mom and dad is on the way to indonesia, but is hard to tell me that both of your parents didn't make it, they bought die in a plane crash. that make all of the crue and passenger died, so as hard that i have to tell Du that, i have to send Du to los angeles with your aunt, to start all over with a brand new life.
hope Du understand me, that i am very sorry about your lost.
dr.maria"
michael is so surprised because of that, and knowing josephine is an orphan now.
one day, there's a girl name josephine, who just moved to LA with her aunt. after moving in, she goes to an Schauspielen school. the same school with michael jackson kids.
and at the first Tag at school, it seems like 4ever 4 her.after school, she goes Home to her house that only 4 bloks away from neverland.
and at the Weiter day, she goes to the same class with paris. then, paris and her group is planning to prank josephine.
she planned that at p.e, when it's dogeball time, they all gonna beat joshephine. then, that all happen with only a teilt, split of minute.
because of that, josephine have to go to th nurse room.
but the Weiter day, is the worst Tag for paris. paris almost always fail her math. but, as the teacher see that josephine is really really good at math, the math teacher told josephine to tutor paris.
for joshephine, it's really ok. but 4 paris, it was the worst Tag and the worst felling ever...
and at the first Tag at school, it seems like 4ever 4 her.after school, she goes Home to her house that only 4 bloks away from neverland.
and at the Weiter day, she goes to the same class with paris. then, paris and her group is planning to prank josephine.
she planned that at p.e, when it's dogeball time, they all gonna beat joshephine. then, that all happen with only a teilt, split of minute.
because of that, josephine have to go to th nurse room.
but the Weiter day, is the worst Tag for paris. paris almost always fail her math. but, as the teacher see that josephine is really really good at math, the math teacher told josephine to tutor paris.
for joshephine, it's really ok. but 4 paris, it was the worst Tag and the worst felling ever...
Gossip-from-friend-of-friend-of-coworker-of-occasional-tennis-player-buddy-of-guy-who-works-on-set-(how else does anything spread around Hollywood?) Department:
Harrison Ellenshaw (Disney special effects ace) reports that Michael’s buddy-buddying up to all the technical people on the shoot (much to their amusement). I’m sure he’s a perfectly nice guy and all, but it _ i_ s a little disconcerting. So Harry comes Home and his kids are in an uproar; they can’t believe it! Seems that Michael Jackson called him up at Home to just chat, Du know? Toss around some ethereal ideas and such. Left a message in his unmistakable tones on the answering machine. So his kids spend the rest of the evening calling all their Friends and playing back Michael’s message from the answering machine.
Harrison Ellenshaw (Disney special effects ace) reports that Michael’s buddy-buddying up to all the technical people on the shoot (much to their amusement). I’m sure he’s a perfectly nice guy and all, but it _ i_ s a little disconcerting. So Harry comes Home and his kids are in an uproar; they can’t believe it! Seems that Michael Jackson called him up at Home to just chat, Du know? Toss around some ethereal ideas and such. Left a message in his unmistakable tones on the answering machine. So his kids spend the rest of the evening calling all their Friends and playing back Michael’s message from the answering machine.