As a seasoned movie buff with decades of immersion in the world of pop culture and dance, I must say that “The Idol” has undoubtedly left an indelible impression on me. The intricate blend of music, drama, and choreography is nothing short of breathtaking, and Nina McNeely’s work as the choreographer is a testament to her unparalleled talent and understanding of the industry.
To create the now-famous dance in “World Class Sinner/I’m A Freak” from HBO’s “The Idol”, choreographer Nina McNeely initially aimed to grasp the core of the pop star and musical phenomenon portrayed by Jocelyn (played by Lily-Rose Depp). In simpler terms, she wanted to know who Jocelyn was at her deepest level before designing the dance.
“Originally a popular child actor, she experienced a tumultuous phase marked by a mental breakdown. Now, she’s making her grand return to stardom, as McNeely explained in EbMaster’s Artisans series on HBO. This comeback is crucial for her, given the immense pressure to recover lost income from canceled tours and outshine the competition. To add to her struggles, she’s rehearsing amidst a public scandal.”
Multitalented artist and dance pioneer McNeely has collaborated with Major Lazer, Björk, Foo Fighters, and of course, The Weeknd. Their partnership began because McNeely choreographed the film ‘Climax’, which caught Able’s (The Weeknd’s) attention as he is a fan of Gaspar Noé. This shared interest sparked a lasting professional bond between the two.
In my experience, when Sam Levinson and Reza Fahim, the visionaries behind “The Idol,” required a choreographer for Jocelyn’s numbers “World Class Sinner / I’m a Freak” and “Dollhouse,” they immediately knew who to reach out to. Guess who that was? None other than The Weeknd, who not only graces the series with his presence as a star but also generously offered his home for filming.
McNeely drew inspiration from memorable dance and pop scenes, such as “Take Off With Us” by Bob Fosse, Paula Abdul’s “Cold Hearted Snake,” the dance routines in “Showgirls,” and Britney Spears’ “Slave 4 You,” to design Jocelyn’s movements, poses, rhythm, and overall energy.
As a cinephile, I expressed my desire for Jocelyn to venture beyond her past limits, exuding boldness, sensuality, controversy, and self-assuredness in her performance. I aimed to instill in her the essence of an enduring pop icon. I deliberately steered clear of any fleeting dance trends, such as TikTok moves, to ensure that our creation would resonate and remain iconic for years to come.
She explained, “I understood that she had to become an unreachable symbol of desire, someone everyone aspired to be with, to emulate, and to connect with. I employed the dancers to convey that narrative.”
McNeely expressed her intention to challenge societal norms and provoke sexual tension: “One scene I particularly enjoyed was when the dancers encircled her, subtly swaying in sync, each one trying to catch her gaze. They were essentially exchanging breaths, creating a bond that intensified the sexual tension we aimed for.”
By placing Jocelyn’s belongings at the heart of my choreography, I skillfully wove in hints about the larger storyline and the symbolic depth of her character, as well as her journey through the pop music world.
“I aimed to explore the dynamic tension between her, the dancers, and their roles – where she’s being tugged this way and that, lifted, and spun, only for her to exert subtle control in a moment. This dance of manipulation and control is central to her character throughout the performance.”
It was essential to incorporate multiple lift scenes, which later proved challenging during Jocelyn’s emotional breakdown while shooting the “Sinner” music video.
In reality, McNeely’s personal encounters on actual music video sets influenced significantly the chaotic filming of Jocelyn. “Sam asked me if I could compile a list of everything that has ever gone wrong on a music video set,” McNeely recalled. “I replied, ‘Sure, but it will be quite extensive.’ The most frequent issue was the shoes, as this problem arises in every production without fail. Then, the artist often expresses their inability to perform the choreographed moves. This usually necessitates modifications because the routine doesn’t align with what they practiced during rehearsals, which can be disheartening for a choreographer since they are impressed by their performance in rehearsals, only to find numerous constraints at the actual shoot.”
McNeely added, “There are numerous potential issues that may arise, such as uncomfortable costumes or ill-fitting ones that limit your dancing ability. For instance, a light directly in your eye while performing can be distracting if you can’t squint without appearing awkward. Additionally, imagine every dancer being ready to perform, only for the most challenging scene to be shot at the end of the day when makeup has worn off and everyone is exhausted. That’s why I usually suggest directors film the toughest scene first, so we can tackle it early in the day, followed by touch-ups and a smoother remainder of the shoot.”
To catch the entire interview above, you’ll find out how many different takes or variations of the dance that Depp needed to film for the performance.
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2024-08-08 22:17