Rehearsal

Francis Lawrence

One of the things that Trish and I worked on, Trish Summerville, the costume designer, and I was, the different kinds of looks for Jennifer. Because when you think about a character like this, right, she's actually playing two completely different people, right. You've got Jennifer the dancer in the beginning, right. And so dancers have their own culture and sense of style and how they dress when they're not at work and how they dress in rehearsals or how they dress on stage and things like that. But that's the real Dominika. And then you've got the Sparrow, right, in the uniform, and that's a bit utilitarian. And then you've got the young woman who's sent to Budapest that's playing a part, right. And so she's not supposed to be a dancer, she's actually supposed to be somebody else. So, the decision of how do you dress and how do you present yourself to the world when you're supposed to be a young woman from Moscow who's a translator at the Hungarian embassy. It's really interesting to dive in to doing different kinds of things. And also thinking about the seasons, because, you know, we Started in just before the dead of winter and then Sparrow School! took us through the dead of winter and then we decided that Budapest, it was the end of winter, and into spring. We never really wanted to see leaves on the trees at all, but we wanted to sort of get in at a slightly nicer, I would say maybe sort of damp weather, as opposed to icy weather as the story progressed. He told me about what happened at the park after I established trust. Hmm.

1:11:09 · jump to transcript →

I should kill you. And all that is dear to you. But you love me. A son loves his mother. A mother loves her son. All these hand gestures were very carefully choreographed and found in rehearsal, like in the pulling of his tunic. And what I particularly liked was this finger across his neck and the choking him.

1:32:23 · jump to transcript →

Tim Burton

The first day at the school, we were there all together. It was interesting because that was, I think, our first time of seeing the three of them together. Because, again, we didn't rehearse this whole thing. Like, you know, when Michael came in, he just came in to be able to shoot. So we started shooting, you know, everybody. So there was that kind of spirit. So, you know, you kind of showed up on the day and didn't really know. But like I said, I just saw it right there. It was really nice. The three different generations sitting there at one spot. So it was very helpful to kind of shoot that early and see what that dynamic was.

16:37 · jump to transcript →