“I think they were really committed to being as accurate as possible, so they wanted a principal dancer, a real ballerina,” Boylston says. “Justin Peck, the choreographer, is a good friend of mine — we had worked together before on our own film that premiered at Tribeca Film Festival a couple of years ago. He called me and was like, ‘I think you’d be a great fit for this project.’ And I was like, Francis Lawrence? Jen Lawrence? Sign me up.”
At the start of his series, Clark asked: “What is civilisation? I don’t know. I can’t define it in abstract terms, yet. But I think I can recognise it when I see it.” Turning to Notre Dame, he added: “And I’m looking at it now.” Schama, shaken by Isis brutality, is certain: “We can spend a lot of time debating what civilisation is or isn’t,” he says, “but when its opposite shows up, in all its brutality and cruelty and intolerance and lust for destruction, we know what civilisation is, we know it from the shock of its imminent loss, as a mutilation on the body of humanity.”
The wide range of approaches to creativity—from psychoanalytic, to psychological, to neurobiological—generally reveals the diversity of the field, but has led some to describe it as “a degenerating research program,” as Mark Batey, a senior lecturer in organizational psychology at the University of Manchester, wrote in a 2012 article on measuring creativity.