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Sitting atopNicholas Hoults head is a wig the size of a mini-fridge.
Shes reacting not to the movements themselves, but to all the fun shes not sure how to have.
I hope its very funny.
Yorgos wanted something that is period but is not period, Macras told Vulture.
I also like that its not looking likedancedance.
Its dance, anyway, but its not formal.
The choreography looked better on the actors than it did on the dancers because it was made for them.
There was space for interpretation.
They should do the movements how they felt them, thats what makes the movements more special.
Its much easier to know the step called the exorcist, and then voguing!
Wed scream the steps so everyone would remember, Macras said.
I dont know how I did it.
It was so funny; it looked like a machine, like a sewing machine or something.
For the tussle, we didnt have names because they were fixed in the script.
We kind of had a structure with the text there, so it could be a little bit looser.
It was meant to be free and move; it wasnt choreographed to a count.
The most unexpected element to the choreography were thecostumes, designed by Sandy Powell.
Theyre all ornate and beautiful, but Weiszs corset made a few of the moves impossible.
Yorgos said, Okay, then, try something else.)
The costumes added something very beautiful, Macras said.
It created some real awkwardness in these movements.
It was not suppressing the choreography, but really giving more.
