Whatever the prospects are for 'White Noise' this awards season, it seems like audiences who’ve screened the movie can agree on one element being particularly great: an end-credits dance number set inside a supermarket.
Yeah. I think the main one we looked at at first was from, the [Jean-Luc] Godard film. He’s got a scene in a supermarket, which is pretty great. It’s like a dolly shot of these people protesting and going one direction and then the other direction. The cops are beating them up and chasing them out of the supermarket. And we’re just looking at ways in which the supermarket’s represented in film and, in some ways, that time period. But that was about it.
I read that you also choreographed the dining room scenes and the big crowd scenes as well. Did you find those to be more or less of a challenge than the dance number?They’re challenging in different ways. I think part of the trick of choreography is, when you’re dealing with some specific kind of vocabulary, you might be working with people with varying degrees of ability to retain the material … so you have to sort of adapt and adjust at all times.
Going back to the supermarket sequence, were you guys in an abandoned store, or were you able to rent out a Walmart?We looked around for [existing stores], but nobody would shut down. I think we worked on it for about at least five months and then a month of going in and out filming, so there wasn’t any store that was going to shut down for that long.
With the dance number, it’s like trying to give these guys an environment where they can discover things organically, like they’re really shopping at a store, instead of us saying, “Oh, you need to go over here, pick this up and spin around.” It was this playing ground, and it worked for the movie.I remember going in there before the supermarket had been stocked yet with the ’80s products, and then seeing it on the day it was done. I had that feeling like, “holy shit.
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