Did you have professional help with the final phase of the project?
Definitely. A tent was pitched at the lake where Peter Kopik, a Hungarian computer whiz, installed his equipment. Working with the “Virtual WET” program–literally a computerized version of the Bellagio fountain show–we spent the next nine days choreographing our 3½-minute song, telling the programmer that we wanted effects like whipping lassos, high streams, large curls, and small trickles. Peter translated everything on his keyboard, asking us questions like, “Something shooting as high as this?” We’d respond, “Yeah, but make it lean back farther.” It was the most satisfying thing I’ve ever done.

What was it like when your creation was unveiled on July 17?
We were so excited! We were absolutely beside ourselves when we shared it that night at an intimate champagne party under the lights with our friends and families. I don’t care who you are–the Fountains of Bellagio take your breath away.

In the future, do you see a second career as a fountain choreographer?
No, there is no money involved. Despite the hard work, it was a priceless experience for pure pleasure. An honor. A dream.

Would you orchestrate another number for Bellagio’s fountains if given a chance?
We really hope to do another one, but we’ll see. The hang-up is that it took so long to do the first one and we would have to carve another week-and-a-half out of our schedules to do the next one.