And often very theoretically, because the other problem with shooting on a freeway ramp is that you can't really rehearse onsite very easily. So it was really the three of us and this troupe of dancers that Mandy and I brought together rehearsing, rehearsing, rehearsing for months. And my choreographer, Mandy Moore, had to choreograph with that in mind, and the DP, Linus Sandgren, had to kind of be involved in that choreography. So that long take aesthetic was there right from the beginning. It's all about how the dance looks in relation to a single camera, not "let's do the dance like a live event and just film it with 15 cameras and then we'll find it in the editing room." There's a wonderful barn dance set piece in the middle of that movie, which was a big reference for this. That to me was the beautiful thing about old Hollywood musicals from Fred and Ginger, through the Gene Kelly/Stanley Donen pictures, to something like Seven Brides for Seven Brothers.
One thing that I think that has kind of been lost a little bit is the idea of choreographing dance for the camera. The idea was to sort of introduce the world and, I think even more importantly, begin the musical with as musical-esque a scene as we could possibly imagine - really try to announce our intentions right off the bat with a bang.
and all these individual sounds build in and sort of layer into this one collective song that eventually explodes into full-out joyful unison singing and dancing before all the drivers return to their cars. The idea was to go from individual car radio. one by one characters start to kind of join in this collective number. We're on this kind of elevated freeway ramp that's in utter gridlock and. On the film's opening number, which is set in a freeway traffic jam That, I think, was a really powerful, beautiful idea to me, that if you feel enough you break into song. There's some kind of an assumption that things are going to follow a certain order, and musicals just break that. Movies have kind of been engineered over the century to somewhat reflect reality usually, even if it's a fantasy or something. There's something so brash and defiant and almost avant-garde about the idea of just breaking the normal rules of normal reality. Movie Reviews An Old-School Hollywood Musical That's In Love With Hollywood: 'La La Land'
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