Jimmy and the women line up, and as he turns we do a countermove with the Steadicam; the camera is, in a sense, dancing with him. Both: Stepping to the bad side... Today.
The Dreamettes make their entrance—in red of course—and move toward the light.
When the operator can get right in there with the performers, there’s so much flexibility that everything tends to feel more immediate. Because the dancers were moving so fast, what was right for one setup would fall apart in another. Stepping to the bad side. whoo,whoo,whoo The smile I had has gone away those that steal are gonna pay Steppin' to the bad side today. When we cut it in, we were stunned to discover that the dancers in the shot above lined up almost precisely with the crown of the building—an effect we enhanced with a quick match dissolve. Condon had plenty of characters and narrative threads to juggle in the story loosely based on the rise of Motown and the pop stardom of Diana Ross and the Supremes. To ease the transition from rehearsal to stage performance, an emcee’s voice-over introduces Jimmy Early and the Dreamettes at the Apollo Theater in Harlem, while the dancers form a line in the studio. Here we catch a dancer defying gravity, which matches into a wider shot as he literally comes back to Earth. Coming about 30 minutes into the story, “Steppin’ to the Bad Side” is one of the film’s most elaborate productions and key transitional points. Early, C.C. The heat lamps, which in an earlier scene were used to bake a paint job dry, are now lighting a dance rehearsal.The mirrors are a gentle nod to another Michael Bennett creation, The rehearsal is intercut with aerial shots of cities where the record is getting radio airplay.
Steppin' to the bad side Ooh, ooh, ooh I had to take myself a mean ride Ooh, ooh, ooh Oh, you know that smile I had is gone away Those that steal are gonna pay Steppin' to the bad side Steppin' to the bad side Steppin' to the bad side today Step, step to the bad side Step, step to the bad side Step, step to the bad side Step, step to the bad side I found that if we stayed tight too long we lost the spectacle, but the occasional close shot—tambourines, clapping hands—were useful as punctuation points. Curtis drives the story of For the final shot of the sequence we move behind the performers and look straight into the spotlights. In this shot, Curtis’ garage completes its transformation from car dealership to performance space. The lighting towers you see in the background are a specific reference to Robin Wagner’s original stage design, an abstract space dominated by five rotating lighting towers.John Myhre utilized rising platforms to let us take the sequence to the next level—literally. We used exposed trusses for the roof supports, because they created such great angular shadows. “In its way,” says Condon, “it tells more story than any of the film’s other musical numbers.” It was a revelation in the cutting room to find how often we’d come back to these Steadicam shots.Over the course of this two-minute stage number, there are dozens of these cutaways that heighten the energy and excitement of the performance. A few people have complimented me on carefully crafting a latter-day Busby Berkeley moment, and of course I didn’t correct them.Musicals are all about making the shift from scene to song as fluid and seamless as possible. Below, Condon describes how he shot the scene as it finally explodes on the stage of the Apollo Theater, performedComing about 30 minutes into the story, “Steppin’ to the Bad Side” is one of the film’s most elaborate productions and key transitional points. We did extensive pre-vis on this sequence, combining storyboards with video footage shot on the rehearsal stage. Then we do a quick dolly move down the row of outstretched fists, and cut to the Apollo where we see a matching shot (number 7) of the same dancers, now in costume.We filmed this on the stage of the Orpheum Theatre in downtown Los Angeles, which stood in for the Apollo. Tobias used a 14mm lens to get as wide as possible, but we needed to do some digital work to take out the beams and extend the floor, giving us a clear expanse that we couldn’t achieve practically.This was actually a happy accident. This shot is held longer than any other in the sequence, to allow the audience to stand back for just a few moments to take in the entire stage.The song, which started with Curtis laying out his plan for success, now returns to him as it ends. To create a smooth transition into the next (non-musical) scene, we took the in-camera flares caused by the spotlights and enhanced them digitally, until the frame is filled with white light. The first part of the scene, as Curtis gambles to raise capital, is intercut with dance rehearsals for the “Steppin’ to the Bad Side” number.
When the light fades, we’re in a recording studio looking at a reel of audiotape, accompanied by Martin Luther King Jr.’s voice on the track. It’s a cinematic device that I hope captures what Bennett achieved on stage—keeping the show in constant motion.Copyright © 2011-2020 DGA. Jamie Foxx plays Curtis Taylor Jr., a Berry Gordy-type entrepreneur who discovers, nurtures and ultimately dominates their career.On the way up, Curtis decides the only hope for getting his music on the radio is to pay off disc jockeys.
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