Step Up Revolution and dancing in the streets. Whenever Adam Shankman and Jennifer Gibgot have launched a new movie Step Up, they made sure to match and surpass the energy, diversity and complexity of the dance of the previous film. But Step Up with Revolution, they have surpassed all their previous efforts by extrapolating the production valuesand bringing in more different styles of dance than ever.
“From the beginning, it was important for me the entire spectrum of dance in this film,” says director Scott Speer. “I think everyone is a natural dancer. And each style of dance is really about communication. The Mob mixes many different styles of movement in their flash mobs, including non-dance styles such as parkour, which includes vaulting, rolling, running, climbing and jumping. I do not think anyone has brought all the aesthetics of these together in a movie.”
By juxtaposing different styles, Speer believes that it not only shows how they can work together, it also emphasizes the strength of each individual discipline. “They are almost at their best when they are all cut against each other,” he says. “You really appreciate the hard-hitting hip-hop when you see the object to the elegance of contemporary dance. At this time, you can better understand how dance is universal, which is one of the most powerful ideas in this film.”
To bring together all the different elements, the producers brought back Jamal Sims, the prolific actor, dancer and choreographer who staged all three previous films and the recent remake of Footloose, the Madonna: Sticky & Sweet Tour and Hannah Montana: The Movie . “He always did an amazing job for us,” Gibgot. “We were proud to see him grow professionally.”
Sims was encouraged to take her creativity to the limit ¡ª and beyond. “Much of our evolution was the introduction of new styles of dance in every movie,” Sims said. “Approach that Scott was everything I could dream up, he tried to pass. He wanted to take as many different kinds of dance as possible and make them work together.”
Sims put in a diverse team of choreographers to achieve the ambitious vision of Speer, including Chuck Maldonado, Chris Scott and Travis Wall. “Bringing other choreographers to ensure that all numbers have a unique look,” says Sims. “For example, Chuck is a step by step and it did Stomp The Yard 2. He helped us in the finals, which is an incredible mix of so many styles of dance. Chris has a background of strong tap and worked with the LDX.
Travis has his finger on the pulse of the world of contemporary dance. His pieces are very emotional and from the heart of the film.”
Wall has been hand picked to audition for a choreographer Emily contemporary dance company. “We knew we wanted someone different to that,” says Gibgot. “It’s a totally different style from the rest of the film and Travis could do.”
“He has a different sensitivity,” says Smith. “Kathryn McCormick trained as a contemporary dancer. It is not schooled in hip-hop, which was heavily featured in the previous films. We have a lot of hip-hop dance in the film, but we made a choice when casting Kathryn to be something new. Travis was an integral part of achieving this.”
A duet between Sean and Emily, dance plays in the movie “Romeo and Juliet” romance. “Not only do they come from two different places and walks of life, the way they dance is different,” says Smith. “Ryan brings a much more urban feel. Kathryn is more lyrical.”
The choreographers have worked hard to develop a single look and feel for each number of large-scale production. “The flash mob scenes are designed to be completely autonomous,” says Sims. “Everyone has a unique range, location, theme and style of music. They are very different from each other.”
The lively crowd Ocean flash drive that opens the film is designed to attract the attention of the audience and not let go until the end credits of the film. “This is the first time we see The Mob,” Speer said. “And this is one of the greatest sequences in the film. He immediately establishes what is different Step Up Revolution and captures the idea that these flash mobs are to establish a viral presence in the city. It is an excellent way to start the story.”
Sims says he still loves to hit hard as the movie begins. “This sequence is in your face. It was probably the hottest day we had in Miami. Children danced on top of cars and onto the street. Each surface was hot. We integrated low rider, dancing with the cars bouncing to the beat of the track. There were so many different moving parts that must be coordinated and programmed to perfection.”
Flash mobs generally use a choreography that is simple enough for anyone to learn, but Sims took full advantage of the talent at his disposal. “The average person, or even the average dancer, would have a hard time pulling this option,” said Gibgot. “There was something like 60 people, including artists of parkour, which adds another exciting element of it.”
The parameters supplied as a source of inspiration as much as music for choreographers as they carefully prepared each unique set pieces. “Jamal, Travis and I all came together to choreograph the sequence of the museum,” said Chris Scott. “It was intense. We had people coming out of walls, a ballet of fiber and several different styles that were to be integrated together. Sometimes the choreography pushes the concept, but in this case, the concept has been conducted. We wanted to present dance as a fine art, as you see in a museum. We made the dancers in the living, breathing works of art. It’s magic!”
For the flash mob business on the theme that marks the first protest of the crowd, Scott has created a highly synchronized ballet indexing performed by drones in identical suits and ties. With dozens of dancers, all this had to be precisely coordinated to work. “They blend into the business,” says Smith. “They are part of the same face crowd ¡ª until the show begins. They all look and move simultaneously.”
Step Up the Revolution ends with a breathtaking final set in a shipping yard, a space much bigger than Sims had worked before. “This is a huge finale,” he said. “The space had so many opportunities and we wanted to enjoy. We have children doing their interpretation of The Warriors, really aggressive and dancing with props. We have a popping routine, then some of the best b- boys and Trickers. Finally, we enter a beautiful, sensual duet and all these different styles mingle into one. Ultimately, everything is connected and reflects the history of the two main characters.”
It was the number the more difficult in the film, according to the director. “We shot it over a period of five days,” said Speer. “There were a multitude of concepts that were bleeding into each other and there were many things visually with costumes, effects and all sorts of special items. I could not be happier with what we have accomplished.”
Related Link: View the Full Production Notes for Step Up: Revolution
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