"Wire" is not this all-purpose tool that supports an actor in any position you want and makes every kind of motion you can dream up just happen. If you are going to accept it as a generic term at all, it still has to refer to a suite of techniques, each of which has very different results and all of which have very distinct restrictions.
Indeed, many years ago Foy helped us fly the actors on stage for
Peter Pan, and there was a whole long laundry list of things we had to do to the set and stage to accommodate the limits of the "flying" technology in order to keep it believable. One of those limitations is that natural movement of the actors before and after the fly consists of getting those wires on and off of them. You have to block the actors prior to flight such that a hidden stage hand can attach the wire from behind. Ditto after the flight; someone has to unhook them. Otherwise the natural blocking for the rest of the activity renders the flight wires a tangled mess.
Several years after that my theater (linked in a separate thread) designed its own fly system and I participated. It's limited in speed, travel, and and the extent of the stage over which it can be used. I'm very proud of it.
Lately I've had the opportunity to look at Cirque du Soleil's standard flyrigs, which are engineered by their automation department and identical units used in many of their stage and traveling shows. These are million-dollar state of the art for 2012, and still cannot do what Apollo video implies.