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How'd they do that?

Beyonce's functioning on the Grammy Awards on Sunday dark was the longest and well-nigh elaborate of the show's 20 musical numbers, an extravaganza that used visual effects, a cast of dozens and enough flowers to blanket the huge Staples Center stage.

It likewise took weeks to programme and execute, Grammys executive producer Ken Erlich told TheWrap on Monday morning time. "Information technology was an incredibly complicated concept to deliver," said Ehrlich, who has worked on the Grammys for 37 years and recently extended his contract with the show through 2020. "Just I have a tough time not going the extra mile for Beyonce."

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The lavish concept was based around the idea of motherhood, and it incorporated the songs "Love Drought" and "Sandcastles" from Beyonce's "Lemonade" album. Information technology was Beyonce'south idea, Ehrlich said.

"She's get a director, and she knows what she wants," he added. "And she's got a big artistic team who take been very involved in the cosmos of what she does the final couple of times they've been on the show. We encourage that."

Beyonce'due south squad, he said, shot all the video projections that were used in the number, working with Grammy staffer Drew Finley on the concept and execution. "It's a procedure, because there are certain things we cannot do," he said. "Some artists are more understanding of that, and some aren't." He paused. "In her case, information technology was a little bit of both."

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Immediately, he said, the Grammy squad knew they would take to use the unabridged Staples Heart stage for the performance, rather than using half of it the way they do for most performances. "We take the luxury of opening upward both stages, which we but do once or twice in the prove," he said. "It was pretty obvious early on that this needed both stages to work."

Merely it also needed a lot of fourth dimension to set up up, which meant that Ehrlich had to program the show in a mode that would let his crew to work on the main stage for fifteen minutes or more.

"It's very difficult to find a bespeak in the evidence where we have that much time," he said. "The way we did information technology, just before Beyonce's performance I had Kelsea Ballerini and Lukas Graham perform on the dish [a small secondary stage xv rows deep in the audience], so that bought me four minutes. Before that was a four or five minute commercial, so that bought me nine minutes. And there was probably an award earlier that, which was another four minutes."

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The phase had to be blanketed with flowers, some of them placed individually and others already attached to large pieces that were just assail the floor. (The flowers that surrounded Beyonce when she was on a turntable, he said, came in a single piece; the ones that were scattered past the long tabular array were placed one-by-one.)

Beyonce filmed scenes that would exist projected in front of her on a material called Holo-Gauze, a thin fabric designed for large-calibration 3D hologram furnishings. "Information technology'southward sheer, merely very delicate," Ehrlich said. "If yous touch it the wrong manner, it can exist destroyed."

On her own, she rehearsed the number for what Ehrlich estimated was two weeks, and then came into the Staples Heart for Grammy rehearsals on Th and Sat nights, every bit well as a apparel rehearsal on Sunday. (She was the only creative person besides host James Corden to take more than one rehearsal segment.)

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During those two rehearsals, the number was repeatedly tried out on the stage, first with a stand-in and and then with Beyonce herself. I of the moments that fabricated Ehrlich most nervous, he said, was when she sabbatum in a chair that was specially reinforced and then that it could safely tilt far dorsum.

"They brought that chair in with them, and she must accept sat in it and run through that section 15 times," Ehrlich said. "I sat out in the business firm with my hands outstretched and so I could catch her, even thought I was 70 feet abroad. But obviously they had rigged it pretty well for a woman [conveying] twins."

And while the production was able to accommodate most all of Beyonce's wishes for the number, there was one matter it couldn't exercise. "She had in mind a shot from overhead in the heart of the stage, over the elevator she came up on," Ehrlich said. "And at that place just wasn't any way that we could hang a camera there. We hung an overhead camera over her chair, but we couldn't get ane over the middle of the stage."

At the end of the number, he added, the Grammys built in extra time away from the chief stage and so that the coiffure could take downwardly the fix and get rid of all those flowers.

"After she finished," said Ehrlich with a express joy, "it was similar sending guys in to make clean upward afterwards the elephants."

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