Cris Cohen: And then speaking of theatrical, you've done a lot of work with Cirque du Soleil and their Michael Jackson show in particular. Watching clips of that, I just have to wonder, what was it like the first time you had to play a guitar that had fire shooting out of it at the same time? Because that's got to be a little intense.
Nili Brosh: Well, it is intense. But luckily, they train you for it. The first few times you have the pyro training, as we call it – one of the coolest terms there ever will be probably – you don't play the stuff first.
Honestly, by the time you let the pyro go, you're at the end of the solo, so you're only playing the trill buildup lick at the end, the ascending lick. And by then, you're standing in one place. A lot of it is the positioning and the aiming. And then once it's going, it's not that close to you. You're aiming somewhere and everybody's trained to be out of the way. If it fires, it's because everything is working.
You have a team of people that are watching over you and making sure that it doesn't fire if absolutely anything is just slightly wrong. And actually, that's what makes me more nervous is if it didn't fire. You know something happened, and then you are kind of walking around with a loaded weapon.
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