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Roberto Campanella on Choreographing the Dream Dance Scene in "The Shape of Water" and Making Its Creature Move
This season's Oscars front-runner isn't exactly the type of drama that usually makes it into the Best Picture category. Guillermo del Toro's The Shape of Water has plenty of drama, including Cold War intrigue, but it also has humor, a very human storyline that—thanks to one large amphibious creature—veers into fantasy and, yes, even dancing.
At a pivotal point in the movie, there's an unexpected, glamorous dream dance scene between Elisa (Sally Hawkins) and the creature (Doug Jones). Elisa, who is mute and has a deep love for Hollywood's classic movie musicals, imagines that she can sing, and she is transported from her kitchen to a black-and-white movie set. There, she and her beloved creature share a romantic dance in the style of the films she adores. Keeping with the old-Hollywood homage, The Shape of Water also includes a short-but-sweet seated tap duet with Elisa and her best friend and next-door neighbor Giles (Richard Jenkins).
The man behind these moves is Roberto Campanella. A former National Ballet of Canada soloist and current artistic director of the contemporary ballet troupe ProArteDanza, he's no stranger to film sets. For the last 13 years, he's contributed movement coordination and choreography to a variety of projects, such as the Silent Hill horror movie franchise, Hallmark's A Nutcracker Christmas (with Sascha Radetsky) and del Toro's vampire show on FX, "The Strain." We spoke with Campanella about his latest collaboration.
Campanella has the unique experience of working in both the concert and commercial dance industries. Photo Courtesy Campanella.
How did you become choreographer for The Shape of Water?
I ended up being involved as a movement coordinator with "The Strain"—that's where I met Guillermo for the first time, five years ago. He called me and said, "Please read the script. I have this idea and see what you think about this." So I read it, and it was captivating. I thought, There is a woman dancing with a fish!
How would you describe the dream scene for those who haven't seen it?
It's a dream sequence in which the character's passion for dance, and specifically for the era, is intertwined with the love that she establishes with the creature. And the way I saw it, the ultimate romance that she would dream of with the creature is sharing a dance with him. The song is "You'll never know just how much I love you. You'll never know just how much I care." To me it was a combination and expression of the passion that she had for dance and the passion and love she had for the creature.
Campanella on set with Sally Hawkins and Doug Jones, as the creature. Photos Courtesy Campanella.
Was it del Toro's idea for that scene to be a throwback to old Hollywood?
Yes. He knows what he wants, he knows what he doesn't want, which makes my life way easier. Most of the time, you're there to translate someone's vision, and with Guillermo it's easy. He wanted to maintain the Fred Astaire era with that kind of stylistic approach. He had some visual references, that he's like, You know? Something like this and something like that. He would get up and show me what he envisioned, even as far as the dancing was concerned. And, of course, with a great sense of humor from his point.
Sally Hawkins in The Shape of Water. Photo by Kerry Hayes. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
Since you knew the creature would have a special suit, did that affect what you choreographed?
We had a chance to test the suit several times and to make adjustments according to it. So there were some restrictions, I remember, in terms of the arms. There were certain lifts that I had originally choreographed that I had to tweak and adjust. Other than that, it was never a big issue. In fact, I think we shot this in half a day. It might have been eight hours at the most.
Did you come with movement ideas beforehand?
I originally asked one of my dancers to get into the studio with me and create the duet. And from then on it was a back and forth between Guillermo and I, meaning, What do you think about this? Do you like this? I always start with a lot of material so that the directors can pick and choose. That's how the relationship was between Guillermo and I, whether it was for the dream scene or for the couch tap with Richard and Sally. He was always heavily involved.
What are some of the challenges—or perks—of choreographing for film that you don't get in a more traditional company studio setting?
First of all, you often create movement on actors. You learn how to speak their own language in terms of images. It's a different language than I would use with dancers.
Once you get on the set, you start breaking things down. So a dance like the one that we did—it was two and a half minutes or something like that—it was shot in eight hours. The great thing about TV and film is that you always have a chance to make it better on the spot. Whereas once my dancers get onstage, you just have to let go, and, obviously, it's up to them and it's hands off. In TV and film, it's constantly me in front of the monitor sitting next to the director.
And the other aspect is that you're translating someone else's vision and not just your own. You always have to make sure that what you do in terms of movement serves the camera, serves the theme, serves the action, serves where they're coming from and where they're going in the script. You really have to make sure that you've done your homework.
On the set of The Shape of Water. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
What does it feel like to be associated with a movie that has so much buzz?
The whole excitement, for me, started actually at the screening for the crew. I can't believe how gorgeous this movie was, not to mention the cast. Then they got a Golden Lion in Venice, and that was the beginning of me thinking, Oh, this movie is gonna have legs. And next thing you know, seven Golden Globes nominations. Guillermo got the Golden Globe as a director. And then the 13 nominations for the Oscars. It's way beyond expectations.
For the Oscars, I'll be watching TV with a big smile on my face that night.
Season 2 of World of Dance is almost here! The new season officially kicks off on Tuesday on NBC, and it's bringing a whole new crew of talented dancers with it (plus, some old favorites). Dance pro judges Jennifer Lopez, Derek Hough and Ne-Yo are back, too, with Jenna Dewan serving as the show's host.
Obviously we'll be watching, but just in case you're not completely sold, here's why you're not going to want to miss out:
JLo Might Be Performing
Earlier this week, JLo (who serves as the show's executive producer) posted this insane promo clip to her Instagram. Dancing to a mashup of Cardi B's "Bodak Yellow" and her new single "Dinero," JLo reminded us all of her dance skills while also leading us to believe she might just hit the stage herself for a performance.
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
Considering we practically live in our dance clothes, there's really no such thing as having too many leotards, tights or leggings (no matter what our mom or friends say!). That's why we treat every sale as an opportunity to stock up. And thanks to the holiday weekend, you can shop all of your dancewear go-tos or try something totally new for as much as 50% less than the usual price.
Here are the eight sales we're most excited about—from online options to in-store retailers that will help you find the perfect fit. Happy Memorial Day (and shopping)!
Now through Monday, Danskin's site will automatically take 25% off your entire purchase at checkout. Even new items like their Pintuck Detail Floral Print Sports Bra and Pintuck Detail Legging (pictured here) are fair game.
"The sun may be shining brightly, but we are not in a very sunny mood today!" said New York State assemblywoman Linda Rosenthal during yesterday's rally for the Artists of Ailey.
The dancers and stage crew are demanding increased wages and more comprehensive benefits, what they have termed "reaching for the standard" and "fair wages."
Pain is an inevitable part of a dancing life and dancers have a high tolerance for it, according to Sean Gallagher, a New York physical therapist whose practice includes many professional performers. "So when dancers complain, it really means something," he says.
But women and men experience pain differently, and tend to be treated for it differently as well. Female dancers need to understand those differences before they go to a doctor, so they can make sure they get treated promptly and effectively.
Rebecca Warthen was on a year-long assignment with the Peace Corps in Dominica last fall when a storm started brewing. A former dancer with North Carolina Dance Theatre (now Charlotte Ballet) and Columbia City Ballet, she'd been sent to the Caribbean island nation to teach ballet at the Dominica Institute of the Arts and in outreach classes at public schools.
But nine and a half months into her assignment, a tropical storm grew into what would become Hurricane Maria—the worst national disaster in Dominica's history.
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.