1 00:00:00,480 --> 00:00:05,160 Speaker 1: It's Will and Woody podcast Nini Wood's Hottest movie of 2 00:00:05,200 --> 00:00:10,080 Speaker 1: the Summer underniably Salt Burn and in particular, hottest scene 3 00:00:10,080 --> 00:00:12,800 Speaker 1: of the summer, hotest scene of the year right at 4 00:00:12,800 --> 00:00:14,600 Speaker 1: the end. Then I've tried to say he's know a 5 00:00:14,640 --> 00:00:17,840 Speaker 1: few times now, but Barry Kyogan dancing at the end 6 00:00:17,840 --> 00:00:21,439 Speaker 1: of Murder on the dance floors obviously whatever I was talking. 7 00:00:21,280 --> 00:00:23,040 Speaker 2: About, and I've done this, it was too much of 8 00:00:23,079 --> 00:00:27,880 Speaker 2: a spoiler to say he's completely nude in this epic 9 00:00:28,000 --> 00:00:32,239 Speaker 2: dance scene. And the really exciting news is that in 10 00:00:32,280 --> 00:00:36,000 Speaker 2: the studio with us right now is a woman called Polly, 11 00:00:36,800 --> 00:00:40,120 Speaker 2: and Polly you were the one who choreographed this epic 12 00:00:40,440 --> 00:00:41,680 Speaker 2: dancing Welcome. 13 00:00:41,920 --> 00:00:43,839 Speaker 3: Thank you, nice to be here. 14 00:00:44,080 --> 00:00:47,080 Speaker 2: Let's just talk about that. Questions the scene. If you've 15 00:00:47,120 --> 00:00:49,920 Speaker 2: worked with Remy Malik, you've worked with Austin Butler and Elvis, 16 00:00:49,920 --> 00:00:51,280 Speaker 2: so we're going to get to that stuff. But let's 17 00:00:51,320 --> 00:00:55,200 Speaker 2: focus on this scene with Barry dancing completely nude. How 18 00:00:55,200 --> 00:00:58,080 Speaker 2: does that idea come about? When do you get involved? 19 00:00:58,080 --> 00:01:00,920 Speaker 2: How much influence do you have you work with the director? Like, 20 00:01:00,920 --> 00:01:01,840 Speaker 2: how does it all come about? 21 00:01:02,080 --> 00:01:05,280 Speaker 3: So, I mean on Salt then, so Emerald Fennel, who's 22 00:01:05,319 --> 00:01:08,399 Speaker 3: the director. She was in The Crown and I was 23 00:01:08,440 --> 00:01:10,440 Speaker 3: the movement coach on all of the all of the 24 00:01:10,440 --> 00:01:13,280 Speaker 3: Crown serieses. So I helped her when she was Kamilla 25 00:01:13,280 --> 00:01:15,920 Speaker 3: Parker Bowls in season three and four. 26 00:01:17,280 --> 00:01:21,000 Speaker 2: So you analyze how Camilla Parker Bowls move you really 27 00:01:21,040 --> 00:01:23,520 Speaker 2: forge and then you it's your job then to teach 28 00:01:24,000 --> 00:01:26,800 Speaker 2: this actress how to move exactly like that big time. 29 00:01:26,880 --> 00:01:29,840 Speaker 3: Yeah. So it's like the idea that watch just type 30 00:01:29,880 --> 00:01:33,360 Speaker 3: of Camilla and I've watched them all. Wow, I've watched 31 00:01:33,400 --> 00:01:33,679 Speaker 3: them all. 32 00:01:33,760 --> 00:01:36,000 Speaker 2: Does their movement change as well over the years? And 33 00:01:36,040 --> 00:01:37,080 Speaker 2: then you're wow. 34 00:01:38,280 --> 00:01:40,639 Speaker 3: I mean The Crown was like an amazing experience because 35 00:01:41,120 --> 00:01:43,560 Speaker 3: you get the gift of like, here here are some 36 00:01:43,760 --> 00:01:46,680 Speaker 3: amazing actors. Can you go and make them be the 37 00:01:46,800 --> 00:01:48,919 Speaker 3: person that we need them to be for this series? 38 00:01:49,040 --> 00:01:51,400 Speaker 3: So you know they've got dialect coaches and they've got 39 00:01:51,440 --> 00:01:54,080 Speaker 3: their directors. But you know, when you're an actor and 40 00:01:54,120 --> 00:01:57,320 Speaker 3: you get given can you play Princess Diana? Off you go. 41 00:01:57,520 --> 00:01:58,080 Speaker 3: You have nothing. 42 00:01:59,080 --> 00:02:01,040 Speaker 4: You've got no training, know nothing. 43 00:02:00,800 --> 00:02:02,600 Speaker 3: That prepares you necessarily for. 44 00:02:02,560 --> 00:02:05,520 Speaker 4: That unless they do it themselves right, unless they learn 45 00:02:05,560 --> 00:02:06,960 Speaker 4: how to do impressions or whatever else. 46 00:02:07,040 --> 00:02:10,480 Speaker 3: That's the thing. Then it becomes impressions. Then you're watching 47 00:02:10,520 --> 00:02:12,480 Speaker 3: things and going, oh, well they do this and they 48 00:02:12,520 --> 00:02:15,000 Speaker 3: do this, so you're mimicking them within a certain situation. 49 00:02:15,200 --> 00:02:17,560 Speaker 3: So I was brought on to Saltburn to work with 50 00:02:18,240 --> 00:02:23,200 Speaker 3: Barry and Jacob you're Jacob, Yeah, Jacob Australia's and to 51 00:02:23,280 --> 00:02:31,160 Speaker 3: work with them. Yeah, difficult job, you know. I worked 52 00:02:31,200 --> 00:02:32,880 Speaker 3: with him for that, work with both of them for 53 00:02:32,919 --> 00:02:36,400 Speaker 3: about three four weeks, just those two trying to work 54 00:02:36,440 --> 00:02:39,840 Speaker 3: out these two characters that basically live and come from 55 00:02:39,880 --> 00:02:43,639 Speaker 3: different situations, and trying to work out what the physicality 56 00:02:43,760 --> 00:02:45,800 Speaker 3: is of both of those people so that then we 57 00:02:45,840 --> 00:02:50,400 Speaker 3: can blend them together when Barry's characters starts taking over again. 58 00:02:50,480 --> 00:02:52,320 Speaker 4: We really don't want to give a lot away here. 59 00:02:52,400 --> 00:02:54,280 Speaker 4: Some people haven't seen it. The tricky thing about that 60 00:02:54,280 --> 00:02:56,480 Speaker 4: film in particular, then, is the crux of the whole 61 00:02:56,520 --> 00:02:59,840 Speaker 4: thing is that somebody can be someone without being someone. 62 00:03:00,120 --> 00:03:04,040 Speaker 2: The physical changes that Barry goes through, it's so beautifully subtle, 63 00:03:04,080 --> 00:03:07,720 Speaker 2: but it is so clearly there. He really does physically 64 00:03:07,800 --> 00:03:10,360 Speaker 2: hold himself differently as the film goes on. 65 00:03:10,720 --> 00:03:13,200 Speaker 3: Yeah, and so where the dance came from is the 66 00:03:13,280 --> 00:03:16,800 Speaker 3: idea that he steps into the space that Jacob's character 67 00:03:17,040 --> 00:03:20,400 Speaker 3: has very so he actually does a reverse in that 68 00:03:20,480 --> 00:03:23,960 Speaker 3: sequence of one of jacob scenes where he shows him. 69 00:03:23,960 --> 00:03:26,120 Speaker 4: He shows in the room that's right, this is my 70 00:03:26,240 --> 00:03:30,040 Speaker 4: uncle's this, this is my family history in that way. Wow. Yes, 71 00:03:30,360 --> 00:03:32,640 Speaker 4: So he goes to the same space and it owns 72 00:03:32,680 --> 00:03:33,440 Speaker 4: it big. 73 00:03:33,280 --> 00:03:36,960 Speaker 2: Difference though Jacob clothed when he does a Barry completely nerd. 74 00:03:37,120 --> 00:03:40,200 Speaker 4: So yeah, let's talk about the Pennis in the room. 75 00:03:41,080 --> 00:03:44,520 Speaker 2: Shall I mean? I think it was so it was 76 00:03:44,560 --> 00:03:47,840 Speaker 2: so impactful because he was nude. Is there awkwardness around 77 00:03:47,840 --> 00:03:49,680 Speaker 2: the nudity? What was Barry like with the. 78 00:03:49,680 --> 00:03:53,400 Speaker 3: Nuddy because it wasn't written into the script this scene 79 00:03:53,480 --> 00:03:55,760 Speaker 3: it used to be he just does an inverted walk 80 00:03:55,800 --> 00:03:59,200 Speaker 3: around the house the same way. And then gradually I'd 81 00:03:59,240 --> 00:04:01,440 Speaker 3: been working on a nut, the big physical piece that 82 00:04:01,520 --> 00:04:03,400 Speaker 3: was going to end the film, which is now on 83 00:04:03,400 --> 00:04:06,000 Speaker 3: the cutting room floor, because we ended up sort of 84 00:04:06,000 --> 00:04:09,680 Speaker 3: being taken during the because because we were filming in 85 00:04:09,720 --> 00:04:13,720 Speaker 3: a venue that we were just sort of lived lived around, so. 86 00:04:13,720 --> 00:04:16,560 Speaker 4: You all lived in the in the manner I didn't. 87 00:04:16,800 --> 00:04:19,520 Speaker 3: It wasn't special enough, but sort of close close by 88 00:04:19,680 --> 00:04:21,640 Speaker 3: peering in, but a lot of the actors stayed in 89 00:04:23,400 --> 00:04:29,640 Speaker 3: the backyard, just a sort of dungeon, like all you 90 00:04:29,680 --> 00:04:32,599 Speaker 3: could think about was what this was. And Emerald was like, 91 00:04:32,680 --> 00:04:35,600 Speaker 3: I think maybe that's a dance. And then it started, 92 00:04:35,600 --> 00:04:37,000 Speaker 3: you know a little bit of a kind of to 93 00:04:37,080 --> 00:04:42,920 Speaker 3: and fro about what music and then suddenly it was 94 00:04:43,240 --> 00:04:46,800 Speaker 3: Emerald's idea. Yeah, and I think it was, you know, 95 00:04:47,400 --> 00:04:50,560 Speaker 3: just suitably camp kick of the time. 96 00:04:50,880 --> 00:04:53,840 Speaker 4: And there's obviously the lyrics obviously line up with how. 97 00:04:53,760 --> 00:04:56,080 Speaker 3: Everything Yeah, which is funny because it's the last thing 98 00:04:56,120 --> 00:04:59,279 Speaker 3: I thought about. Wow, I was just like, was rich. 99 00:05:00,640 --> 00:05:02,680 Speaker 4: It just gets It's a great song without thinking at 100 00:05:02,680 --> 00:05:06,120 Speaker 4: the connotations with her on the show. 101 00:05:07,680 --> 00:05:11,080 Speaker 2: Yeah, absolute legend was a nice name drops. 102 00:05:12,120 --> 00:05:14,719 Speaker 4: You know, I just like, Polly's coming here some big ones, 103 00:05:14,839 --> 00:05:16,680 Speaker 4: but I thought I'd just fight background and the one 104 00:05:16,680 --> 00:05:20,080 Speaker 4: for us there, don't you worry? How did you get 105 00:05:20,440 --> 00:05:22,919 Speaker 4: Barry to dance mood through the house? 106 00:05:23,480 --> 00:05:25,440 Speaker 3: He was always going to be walking naked through the 107 00:05:25,480 --> 00:05:28,840 Speaker 3: house as a kind of you know, the influence. 108 00:05:29,200 --> 00:05:30,400 Speaker 4: Ultimate show of dominance. 109 00:05:30,600 --> 00:05:35,640 Speaker 3: Yeah, naked. Yeah, he's and he's and are we ever 110 00:05:35,800 --> 00:05:37,040 Speaker 3: truly ourselves? Right? 111 00:05:37,120 --> 00:05:39,159 Speaker 1: Yeah? Yeah? Yeah. 112 00:05:40,160 --> 00:05:42,599 Speaker 2: We also heard a rumor It was actually Tom who 113 00:05:42,760 --> 00:05:46,279 Speaker 2: heard a rumor that apparently the first time Barry was 114 00:05:46,320 --> 00:05:49,200 Speaker 2: doing the dance, he was too good at dancing and 115 00:05:49,240 --> 00:05:51,839 Speaker 2: you had to bring him down a few pigs. That's 116 00:05:51,839 --> 00:05:54,880 Speaker 2: a I don't that. 117 00:05:54,839 --> 00:05:55,360 Speaker 1: Wouldn't be. 118 00:05:58,839 --> 00:05:59,839 Speaker 2: That's how rumor start. 119 00:06:00,839 --> 00:06:03,479 Speaker 3: I appreciate it. I'm here to slam that down. No, 120 00:06:03,640 --> 00:06:06,080 Speaker 3: I think he I mean there was a version where 121 00:06:06,520 --> 00:06:10,960 Speaker 3: I I over choreographed it. I made it like it's 122 00:06:11,000 --> 00:06:15,200 Speaker 3: going to be a show. Yeah, absolutely, you know, trying 123 00:06:15,200 --> 00:06:18,760 Speaker 3: to get him technically, yeah. Yeah, But that was because 124 00:06:18,760 --> 00:06:22,120 Speaker 3: we didn't really know what it was. So actually, so 125 00:06:22,160 --> 00:06:24,760 Speaker 3: it comes back to because I'd done the character work 126 00:06:24,839 --> 00:06:27,479 Speaker 3: with both of these characters, I was like, something isn't 127 00:06:27,520 --> 00:06:30,240 Speaker 3: right about this. So I went back through rushes and 128 00:06:30,279 --> 00:06:33,680 Speaker 3: went back through scenes and Barry actually where it sort 129 00:06:33,680 --> 00:06:36,400 Speaker 3: of started lifting was where I started placing in movements 130 00:06:36,440 --> 00:06:39,440 Speaker 3: that Jacob had already done in other scenes. So there's 131 00:06:39,480 --> 00:06:42,320 Speaker 3: lots of things like when he, you know, takes some 132 00:06:42,400 --> 00:06:45,719 Speaker 3: drugs and when he arches himself backwards, Jacob does that 133 00:06:45,760 --> 00:06:48,839 Speaker 3: in another scene. So it is kind of like to me, 134 00:06:49,600 --> 00:06:52,360 Speaker 3: there's all these like subtle sort of easter eggs back 135 00:06:52,440 --> 00:06:55,240 Speaker 3: to the film to the untrained diet. It doesn't look 136 00:06:55,520 --> 00:06:58,560 Speaker 3: necessarily like that, but it means that it's rooted in 137 00:06:58,600 --> 00:07:00,719 Speaker 3: the truth of the story rather than a dance that's 138 00:07:00,720 --> 00:07:01,440 Speaker 3: been on top. 139 00:07:01,279 --> 00:07:02,880 Speaker 1: Of right on top. 140 00:07:02,920 --> 00:07:04,400 Speaker 4: It's not a cherry on the cake. It's really like 141 00:07:04,440 --> 00:07:07,560 Speaker 4: a sort of mirroring back through everything that he's been 142 00:07:07,600 --> 00:07:09,800 Speaker 4: through to get to that point. So telling a story 143 00:07:09,840 --> 00:07:10,960 Speaker 4: again through the dance. 144 00:07:11,400 --> 00:07:14,040 Speaker 3: And then you know, like when when we don't when 145 00:07:14,080 --> 00:07:17,560 Speaker 3: we don't know what to say, we gesture they're so true, 146 00:07:17,040 --> 00:07:19,960 Speaker 3: so they're not saying anything. They don't need to say anything, 147 00:07:20,240 --> 00:07:22,680 Speaker 3: or he doesn't need to say anything. So we have 148 00:07:22,760 --> 00:07:25,840 Speaker 3: to make sure that the movements for the audience tells 149 00:07:25,880 --> 00:07:28,200 Speaker 3: something that you wouldn't get if they were talking. 150 00:07:28,600 --> 00:07:30,920 Speaker 4: And so much of us, so much of it is subliminal, 151 00:07:30,960 --> 00:07:32,680 Speaker 4: like obviously you know what he said before. You know 152 00:07:33,000 --> 00:07:34,800 Speaker 4: the reason the dance is gone. One of the reasons 153 00:07:34,800 --> 00:07:36,520 Speaker 4: the dance with one virals because he's naked. But like 154 00:07:36,840 --> 00:07:40,040 Speaker 4: there was so much in the messaging in the in 155 00:07:40,080 --> 00:07:43,880 Speaker 4: that moment of triumph that words or or or acting 156 00:07:43,920 --> 00:07:45,640 Speaker 4: aren't going to be able to convey that a dance. 157 00:07:46,520 --> 00:07:48,920 Speaker 4: You know, he's going to get across and there's so 158 00:07:49,040 --> 00:07:53,200 Speaker 4: much that you can express you just can't do through. 159 00:07:53,080 --> 00:07:55,400 Speaker 3: Words right well, exactly, you look at the films that 160 00:07:55,480 --> 00:07:57,480 Speaker 3: have big dance numbers, and I don't know if you've 161 00:07:57,480 --> 00:08:00,880 Speaker 3: seen another round where it finishes danced. 162 00:08:01,000 --> 00:08:03,880 Speaker 2: Michelson is because he's a profession he was a professional 163 00:08:03,920 --> 00:08:10,040 Speaker 2: ballet dancer and gymnast. Wow is a brilliant movie if 164 00:08:10,040 --> 00:08:12,240 Speaker 2: anyone hasn't seen it. But yes, that final scene is 165 00:08:12,240 --> 00:08:15,160 Speaker 2: because because he he teases it through that entire film 166 00:08:15,240 --> 00:08:15,800 Speaker 2: as well. 167 00:08:15,800 --> 00:08:18,600 Speaker 3: Exactly, and that's why it works. It's not just a 168 00:08:18,720 --> 00:08:21,080 Speaker 3: dance that's put on the end. And I think that's 169 00:08:21,080 --> 00:08:23,320 Speaker 3: where I come in as a as a movement coach. 170 00:08:23,400 --> 00:08:25,760 Speaker 3: Can you Sometimes I get credited movement coach. Sometimes I'm 171 00:08:25,760 --> 00:08:29,320 Speaker 3: a choreographer. So it works the best for me when 172 00:08:29,360 --> 00:08:31,800 Speaker 3: I'm working with the actors, so that you're not getting 173 00:08:31,800 --> 00:08:33,880 Speaker 3: an actor going, I've got to be good at dancing 174 00:08:33,880 --> 00:08:37,200 Speaker 3: because I'm doing a dance, which is sometimes what you get. Yeah, 175 00:08:37,559 --> 00:08:39,439 Speaker 3: you're actually going, this is how the character. 176 00:08:39,920 --> 00:08:41,960 Speaker 4: You're not a good dancer, you can't just yeah, another one, 177 00:08:42,000 --> 00:08:43,800 Speaker 4: big one for me, bring it on. Obviously, a couple 178 00:08:43,840 --> 00:08:46,520 Speaker 4: of big dance numbers in that one, huge doubt there's 179 00:08:46,559 --> 00:08:50,440 Speaker 4: something that just can't be put in the words no response. 180 00:08:53,280 --> 00:08:57,240 Speaker 4: Thanks again probably then here on Will and what he 181 00:08:57,840 --> 00:09:00,000 Speaker 4: loving to meet you 182 00:09:01,360 --> 00:09:04,680 Speaker 3: Here more of the boys on the full podcast, just 183 00:09:04,720 --> 00:09:05,440 Speaker 3: scroll up.