Anya Taylor-Joy, Thomasin McKenzie, and Matt Smith show off some of the best on and off-screen choreography in this jazzy scene.
The Big Picture Edgar Wright's films are colored by his unique and visionary directorial style as his eye for stylization makes for aesthetically appealing visuals that make his movies stand out from the crowd. While there are countless examples of scenes and sequences in his filmography that you can point to as an example of his vision, there is one premier moment in one of his more recent films that exemplifies his creativity and technical mastery.
After conflict with her roommate leads her to move into a small apartment on her own, Ellie soon experiences vivid dreams that transport her decades into London’s past, in the Swinging Sixties. In her dreams, Ellie observes and becomes connected to Sandie , an ambitious and confident woman who wants to become a singer at a prominent nightclub. Sandie introduces herself to Jack , a charming and influential manager who she believes can help her become a star.
The Choreography Off-Screen is Equally Impressive 1960s London is brought to life with the choreography on-screen, immersing the audience in the distinct ambiance of the stylish late-night community. The era-accurate dance moves are highlighted by the stylish fashion statements that inspire Ellie’s future design work and the bumping music of the club. However, the most skillful choreography in this sequence actually happened off-camera rather than on screen.
Though there is one edit that happens in this scene, it’s still a demonstration of Bain’s masterful camera operating. In the first turn and change between Sandie and Ellie, Matt Smith had to recreate his movement with surgical precision for multiple takes as the move was shot with Taylor-Joy and McKenzie respectively.
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