In the film, the dance draws a crowd, as all good street performances do. Janice (Annalise Basso), a young woman who happens upon the scene, is swept into the choreography as Chuck’s partner, and together, they fly. But during much of the duet’s creation, they weren’t even in the same room together.
Hiddleston was in London, and Moore and Basso were in Los Angeles. With the help of an associate, Moore started a training program with him, she said, “to work on the basics of jazz, some ballroom techniques, cha-cha, some salsa, a little bit of old school jazz just to see how his body moves.”
She choreographed by sending videotapes of movement phrases, but it wasn’t until they got in a studio together in London that the dance could be shaped and refined. “It was such a space of freedom and exploration,” he said. “Mandy believes so powerfully in the transformative power of dancing. And I felt so safe with her. She said, ‘You’re playing Chuck, but Chuck is you.’”
In many ways, that’s the key to his effervescent performance: You see the person inside of the dancer. In Hiddleston’s case, it’s the clarity of his connection with Basso and Gordon — really, the number is a pas de trois — and his delight as he finds his flow. By the end of the shoot, which took place in the Alabama heat, holes had burned into the soles of his shoes.
“I’m only approximating what a professional dancer feels, which is like after four days of doing it, I thought there was a kind of economy to it,” he said. “It was like my body was accustomed to the routine, and so there was a sort of precision there that maybe wasn’t there at the beginning. I found it easier to make big extensions and bigger shapes and for it to feel a bit looser without sacrificing the form. As we were coming to the end, I was like, ‘I wish I could do this every day.’”