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Strategic Maneuvers (Continued)
Like Appel, choreographer Marguerite Derricks has been on the front lines of the entire "Austin Powers" trilogy. "Marguerite has been invaluable to the ‘Austin Powers' movies," Myers notes. "She loves the world of dance and she's brought that enthusiasm to all the musical numbers."

"It's wall to wall dance in this movie, like a mini-musical," says Derricks. "Collaborating with Mike and Jay is probably the most fun a choreographer could have. The challenge for me was in not repeating myself. The opening number is my favorite because I really got to strut my stuff -- the sequence moves from location to location and each one required a completely different style of dance."

"Before working with Marguerite, I hadn't really appreciated how much choreography can add to the story," says Roach, "dancing that's not only designed to be spectacular, but to make you laugh. When Mike embraces the choreography with his own eccentric approach and personal expression, it's like watching Dick Van Dyke or Charlie Chaplin. It's something I've craved more and more on each subsequent film."

Throughout the years Roach has steadily put pressure on Myers to add more musical numbers to the films. Because Myers is an experienced skater, the idea to stage an elaborate roller disco sequence with intricate roller-skating stunts was especially appealing to Roach.

"I love the sequence in the Charlie Chaplin film Modern Times; it is absolutely beautiful," Roach says effusively. "Mike can skate like the wind and he's a great physical performer. The Michael Flatley number he did a few years ago at the MTV Movie Awards just blew me away, so I kept after him to do some kind of Busby Berkeley roller disco thing."

Derricks brought in 17 professional skaters as well as two skating stunt doubles for Myers. The doubles were barely used because Myers handled most of the gags himself. Although Derricks herself is not a skater, she was able to direct the skaters to perform all of the moves she needed to create an exciting entrance for Goldmember.

"I would verbalize my vision and the skating pros would make it happen," she explains. "The way they flew around was amazing. The skaters showed me tricks, I selected a few and they would demonstrate for Jay and Mike who would make the ultimate decision. It was a mixture of choreography and stunts. As Goldmember, Mike had to perform as the perfect roller boogie guy and then as Austin he had to be klutzy, which is much harder because you have to control yourself being out of control."

"We originally thought about doing more of an action film," Roach explains. "But aspects of ‘Austin Powers' have always been musical, and we decided to go in that direction instead. I kept telling everyone what a good dancer Mike is -- he can tap, he can do swing, he'll try anything, and it's completely different from what other comedians are doing these days. I would love to do ‘Austin Powers, The Musical' on Broadway!"

Music takes center stage in Austin Powers in Goldmember. For music supervisor John Houlihan, who has worked on all three films, it has been a wild ride and one of the more rewarding experiences in his career.

"Music is always the la


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