But because the music is so good and always appropriate for the dancing, the effect is most satisfactory. So the music is background for the choreography. Most of it is not "danceable." I get the impression that the dancers performed in silence on the film and that the music was added later (along with Foley effects such as the sound of the point shoes striking the floor). The music is partly ethereal and partly jazz from the streets. The change of views proceeds rapidly and, except for a number of views of repose, the action in each view is fast and exciting. As soon as your brain has acquired focus on the current clip, Lock throws something different at you. Even though there is only one bare set, no scenery, no prop, no plot, no named characters, and no costume changes, Amelia is not monotonous. He attempted to present as many different views of the dancing as would be possible with his resources. One of Lock's objectives was to create a dialogue between the camera and the Lock logic of the dancers. The men, dressed in black suits and white shirts, mostly support the women, but they have their own funky vocabulary as well. The women, dressed in revealing black tights, are panthers specializing in incredibly fast moves. But I now believe these unpredictable motions are part of Lock's effort to interfere with normal expectations (see the discussion of "deconstrutive revelation" after the screenshots). Lock also adds curious motions of the arms and hands to the mix which I first thought might be mime or some kind of sign language. The dance style, which I call "Lock logic," is based on classical ballet, but the 18th century concepts of aristocratic grace and elegance have been replaced with a Lock logic emphasis on power, speed, and slick style. The making of a movie is a totally different experience than creating a theater show, especially for the dancers, who must stay psyched up to perform while waiting endlessly for people to fidget with gear and the director to make countless retakes. The images you see on the film are as much illusion as real, but all the effects are purely mechanical or physical (nothing digital). I say "seems" because, as you can see in interactive extra clips, the stage breaks down into various components like a Lego set for giants, and the pieces are used in various ways. The box seems to isolate the dancers in a kind of trap. The set, constructed solely (I think) for this film, seems to be a stage of light-colored maple flooring folded up into a box with rounded corners and high walls. But he would attempt to recreate Amelia in a new world that would never seen by a actual spectator. The choreography would be similar to the stage version. He somehow rounded up the money to try his hand at designing and directing a motion picture version of Amelia. In 2002, Lock was a famous choreographer, but he was new to movies. (Instructions in booklet on using the interactive feature are wrong: correct instructions are on disc.) Released 2009, disc has 5.0 PCM sound. There are valuable extras: (1) Director's Commentary in English and French as movie plays, (2) an interactive feature that takes you from the movie to 32 "how we did it" documentary clips, and (3) history of LaLaLa Human Steps. Touchette and Bob Krupinski executive producers were Luc Châtelain, Alain Simard, and Daniel Langlois. Unique set designed by Lock photography directed by André Turpin costumes by Vandal Folley effects by Lisa Wedlock (the film was shot silent and all sound comes from post-production) sound design by Hans-Peter Strobl and Lisa Wedlock artistic director was Louise Marie Beauchamp. Musicians are Alexandre Castonguay (cello), Simon Claude (violin), Njo Kang Kie (piano and musical direction), and Nadine Medatwar (vocalist). The dancers are Andrea Boardman, Nancy Crowley, Mistaya Hemingway, Keir Knight, Chun-Hong Li, Bernard Martin, Jason Shipley-Holmes, Billy Smith, Naomi Stikeman, and Zofia Tujaka. Then in 2002 he also directed and edited the movie version we review here, which was shot on super 16 motion picture film at 24 fps. Lock first created a theater version of Amelia. Choreography by Édouard Lock, leader of the dance group LaLaLa Human Steps. Music by David Lang with lyrics by Lou Reed (and, per urban legend, Nico, a friend of Andy Warhol).
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