Final Chapter: After the Sochi Olympics, Towards the Future
6.1 A Double Podium at the 2014 World Championships
After the Sochi Winter Olympics, one task remained for Team Brian: the World Championships in Japan. Following an Olympic Games, athletes often find it difficult to summon the motivation to compete at the World Championships, a challenge that coaches also find difficult to deal with.
In fact, among the gold medalists across the four figure skating disciplines at the Sochi Winter Olympics, Yuzuru was the only one who decided to compete at the World Championships. It takes considerable courage for an Olympic champion to compete at the World Championships so soon after the Games, and I was truly proud of him for taking on that challenge. Javier, meanwhile, was motivated by the desire to demonstrate his abilities at the World Championships with a performance even better than the one he had delivered in Sochi. I was deeply impressed by the determination shown by both my students. Even I was so exhausted that, when I woke up in the morning, I could hardly bring myself to go to the Cricket Club.
Yuzuru, in particular, was keenly aware of his responsibility to compete, especially since the World Championships were being held in Japan. He was someone who cared more about the people around him than about himself. He felt a deep sense of responsibility not only towards the fans who wanted to see him in person as an Olympic champion, but also towards securing Japan's quota spots for the following season. There was no need for me to motivate either of them as their coach. Both came happily to the Cricket Club every day, eager to practise their programs.
World Junior Champion Nam Nguyen had also decided to compete at these World Championships. Having three of my students competing was truly exciting. What I looked forward to most, however, was seeing the Japanese skating fans. I wanted to see for myself how they would welcome Yuzuru after the Olympics and just how much of a superstar he had become.
The atmosphere at the Saitama Super Arena during the World Championships was fantastic. It reminded me of my own days as a competitive skater. Back then, Canadian figure skating fans were much the same. They cheered not only for their own skaters, but also for those from Japan, the United States and Russia. Japanese fans truly understand figure skating. They recognize technically demanding elements and applaud at just the right moments. They don't simply look forward to the entertaining parts or applaud only when a skater performs a jump. Rather, they appreciate and enjoy every aspect of figure skating.
During the short program, Yuzuru made an uncharacteristic mistake and finished in third place heading into the free skate, while Javier stood in second place. My challenge, therefore, came sooner than expected. In the free skate, Javier was scheduled to skate immediately after Yuzuru, just as they had in the short program at the Olympics. I had reflected on how I had failed to give Javier enough attention at the Olympics, particularly when I neglected to make sure his skates were properly secured. I was determined not to make the same mistake again. Even though Javier was skating immediately after Yuzuru, I couldn't afford to leave him unattended for even a moment. I carefully rehearsed in my mind the sequence of actions I would need to follow during the competition.
I would be at the rinkside before Yuzuru took to the ice. When he finished his performance and came off the ice, I would hand him his skate guards before making my way over to Javier. I needed to check everything about Javier, from his skates to his expression and costume. After seeing Javier off onto the ice, I would briefly return to the Kiss & Cry area to exchange a few words with Yuzuru, then immediately head back to the rinkside. When Javier's name was called, I would send him onto the ice. I would then return to Yuzuru to give him a hug before immediately making my way back to the rinkside to watch Javier's performance. That was the plan I had carefully worked out. I had already told Yuzuru beforehand, "I'll come to meet you after you've finished skating, but I won't accompany you to the Kiss & Cry area this time."
Yuzuru's free skate was outstanding, far surpassing his performance at the Winter Olympics. Chasing Tatsuki Machida, who had taken the lead after the short program, Yuzuru stepped onto the ice with a fierce determination to win. He delivered a performance that was quintessentially Yuzuru, brimming with fighting spirit.
Yuzuru was the only one in the Kiss & Cry area. Since Machida had already finished his performance, Yuzuru's score would determine whether he could overtake him. When the final score was announced and it became clear that Yuzuru had moved ahead of Machida into first place, my attention was already focused on Javier. After seeing Javier off onto the ice, I returned to Yuzuru and gave him a hug. As expected, Javier's free skate was also far better than his performance at the Winter Olympics. He finished third overall, finally proving to everyone what he was capable of.
I, too, was able to put into practice at the World Championships the lessons I had learned about coaching during the Olympics. Having guided both of my students onto the podium, I felt that I had witnessed firsthand just how much they had worked and how far they had grown.
I usually skip the post-World Championships banquet, but this time I decided to attend. Both Yuzuru and Javier had made it onto the podium, and Nam Nguyen had also achieved a very good result. It was quite a grand celebration, complete with a live tuna-cutting demonstration. The three of us took a photo together, and it was only then that I truly felt the Olympic season had come to an end.
6.2 How the Programs for the New Season Were Decided
The day after the free skate at the World Championships, which was also the day of the exhibition gala, I held a meeting with Yuzuru’s team. As the Olympic champion, Yuzuru was about to be swept up in a whirlwind of ice shows, celebratory events, and media interviews in Japan. Knowing that we wouldn’t be in touch for a while, it was essential to have at least a preliminary discussion about the following season, such as when the programs would be choreographed and who would be responsible for them. When the subject came up, Yuzuru showed absolutely no hesitation about whether to take a break in the year following the Olympic season. He had already decided to go ahead with creating his new programs in April.
The short program would once again be choreographed by Jeffrey Buttle, while the free skate would be entrusted to Shae-Lynn Bourne. Yuzuru shared his thoughts on the short program, expressing a desire to explore a style he had never skated to before and to try something set to piano music. Jeffrey and I brainstormed various ideas, taking Yuzuru’s suggestions into account, and ultimately settled on Chopin’s Ballade No. 1.
As for the free skate, Yuzuru himself said that he wanted to skate to The Phantom of the Opera. Shae-Lynn and I discussed how to combine and edit the music. Starting that season, the rules allowed the use of music containing vocals, so the extent and type of vocal elements became particularly important considerations. We played one piece of music after another on the ice, selecting the ones that resonated with Yuzuru and gradually refining our ideas.
I felt completely comfortable leaving the choreography in the hands of Jeffrey and Shae-Lynn. After the long Olympic season, I decided to take some time off and enjoy an 18-day holiday. I told them, “Contact me if anything urgent comes up. But I really haven't had a proper holiday in a long time, so I hope I can get some good rest during this time." As it turned out, nobody called me during those 18 days. In the meantime, both the short program and the free skate gradually took shape. Everything should be fine, I thought. These two were among the world's very best choreographers and trusted members of Brian's team.
Afterwards, I watched Yuzuru’s short program. Once again, it was a program with the potential to achieve the highest score in the world. It may be hard to believe, but Yuzuru’s performance, both in his jumps and his overall presentation, was even better than the previous season’s. Now in his second season as Olympic champion, Yuzuru was able to deliver this program so perfectly because he possessed a radiance that had emerged after years of refinement. During the opening 12 seconds, he did nothing more than stand still, yet the atmosphere in the rink gradually grew tense. Only a skater capable of radiating such a distinctive presence could truly bring this program to life.
I experienced the same thing when I won the World Championships. In the season following my title win, I carried with me the pride of being a world champion, and even the way I felt skating on the ice was different. It wasn't a matter of technique; rather, something on a psychological level had changed the way I skated. That same phenomenon was now evident in Yuzuru's new short program.
As for the free skate, having a new choreographer brought a fresh feel to the program. The music arrangement might also evolve as the season progressed. While the rules now permitted the use of music featuring vocals, everyone was still in the experimental phase, trying to figure out the optimal balance. Unlike in ice dance, having vocals throughout an entire four-and-a-half-minute program would probably become rather overwhelming and might not complement the jumping elements very well. Instead, vocals could be incorporated into sections where the atmosphere builds, such as during the step sequence, to heighten the mood.
In particular, the music from The Phantom of the Opera includes vocals, which clearly sets Yuzuru's program apart from those of skaters in previous years. Shae-Lynn, Yuzuru, and I each shared our ideas and made adjustments while carefully considering the distribution of points for the jumping elements.
6.3 A Time to Push Beyond the Limits and Try New Styles
Yuzuru has his own unique style. Whether he is gliding across the ice or performing, he moves according to his instincts, expressing himself freely and without restraint. For a skater, this is a very comfortable way to skate, and it also allows him to focus fully on executing his quadruple jumps. I respect and understand Yuzuru's desire to skate in his own style.
During my own competitive career, I also skated to Frank Sinatra’s "New York, New York" and Gene Kelly’s "Singin’ in the Rain." I was particularly good at performing fast footwork in time with the music. It was a style I had always enjoyed, and most of my programs were along those lines. However, after winning the silver medal at the 1984 Winter Olympics in Sarajevo, people around me began telling me, "If you want to compete in another Olympics, you should try programs of different styles as well." At first, I thought to myself: "I have my signature triple Axel (3A). As long as I land all my jumps successfully, shouldn't that be enough?" But over the three years following 1984, I performed programs with a different style each season. I also challenged myself with slower, more lyrical music and classical pieces, showing the judges that I was capable of handling a wide range of musical styles. Then, at the 1988 Winter Olympics in Calgary, I returned to the style I was best at.
Yuzuru is no exception. Over the next three years, he should explore and experience a wide variety of performance styles before returning to the style that suits him best at the PyeongChang Winter Olympics. If he continues to perform in the same style, people may get the impression that his repertoire and range as a skater are rather limited. Therefore, if Yuzuru intends to continue competing for another four years, he needs to challenge himself with programs in a variety of styles.
Yuzuru is currently at a crucial stage in his career, a time when he needs to push himself to the limit. As an Olympic champion, he needs to show everyone his impressive and charismatic side. From that perspective, maintaining the same style as last year would be the safest option, and he would be able to land his jumps consistently. If his goal were simply to achieve the best possible results this year and next, that would probably be enough. However, I am thinking about Yuzuru four years from now. That is why the next three years should be a period of exploring new styles, even if it means pushing himself beyond his comfort zone. Perhaps he might make mistakes on his jumps because he is not yet accustomed to the style of a particular program. I understand all too well the fear of not being able to deliver results. However, if his performance style never changes, by the time the PyeongChang Olympic season arrives, people may find themselves thinking, "Oh, it's this same kind of program again." In that situation, the risk would actually be much greater.
Therefore, I hope that Yuzuru will approach both of his programs this year with a fresh style, taking his performance to an even higher level. Four years from now, I look forward to seeing Yuzuru evolve into an even more mature skater.
Yuzuru and Javier, particularly Yuzuru, are now in a position to lead the world of figure skating. Yuzuru has the ability to steer the sport in the direction he envisions, and he also carries the responsibility that comes with such a position. At present, Yuzuru is unrivaled. He stands at the very forefront of men's singles skating.
One thing I find particularly exciting is seeing Yuzuru's jumping technique continue to improve. He is already working on the quadruple loop (4Lo) and quadruple Lutz (4Lz), and I am sure that before long, he will be attempting these jumps in competition as well. For the 2014–2015 season, he plans to include three quadruple jumps in his free skate. In his short program, he also intends to place a quadruple jump in the second half, with the goal of breaking the 100-point mark.
I was there to witness the moment he first landed a quadruple Lutz during the 2014 off-season. Rather than simply receiving an email saying, "He landed the quadruple Lutz," I was able to see it with my own eyes. I was so happy. He was practicing for an ice show in Japan, and he performed the jump under the show's lighting. It was magical, beautiful, and deeply moving. (T/N: The book mentioned 4Lz, but it was probably an editing mistake. In Yuzuru's "Prologue" booklet, he first landed a 4Lo in Japan in 2014 and a 4Lz at the Cricket Club in 2017)
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