Character study

Topsy and Bopsy from HBO’s Lovecraft Country, portrayed by Kaelynn Gobert-Harris and Bianca Brewton, are easily some of the most incredible movement performances I’ve seen in a long, long while. 

To put it plainly, they’re absolutely terrifying.

So, if you haven’t seen Lovecraft Country, a picture probably wouldn’t go amiss here to truly display the creepy.

(A picture I don’t own in any way, of course.)

How they move is an errie blend of human and supernatural. 

But firstly, some context.

Lovecraft Country and Uncle Tom’s Cabin

Now, if you’re unfamiliar with the show, it aired on HBO in 2020 and was created as a continuation of Matt Ruff’s novel of the same name. 

Developed by Misha Green, Lovecraft Country, plot explained by Rolling Stone magazine, “follows Atticus Freeman (Jonathan Majors) as he joins up with his friend Letitia (Jurnee Smollett-Bell) and his Uncle George (Courtney B. Vance) to embark on a road trip across 1950s Jim Crow America in search of his missing father (Michael Kenneth Williams). This begins a struggle to survive and overcome both the racist terrors of white America and the terrifying monsters that could be ripped from a Lovecraft paperback.”

In episode 8: Jig-A-Bobo, we’re introduced to Topsy and Bopsy, who are malevolent ghouls taking the form of “pickaninnies”, an offensive name for a small black child, who are terrorizing Diana (Dee), Atticus’ younger cousin.

The character of Topsy is arguably the “original ‘pickaninny’ caricature, who was first introduced in the anti-slavery novel Uncle Tom’s Cabin.

Racism holds the spotlight tightly in the storytelling of Lovecraft Country and what I love about Topsy and Bopsy is that they use movement to tell their portion of the story. 

They bring very different energies individually but seamlessly blend into each other to create an intricate relationship. 

Topsy is calculating, while Bopsy is playful. 

Bopsy is extroverted, while Topsy is more introverted.

But, there’s never any doubt that they wish Dee incredible harm. 

Enter Jamaica Craft

Jamaica Craft was the choreographer tasked with creating the movement of Topsy and Bopsy. 

Jamaica is a choreographer, and creative director and has worked with some of the biggest names in music from Usher to Nicki Minaj. Her first professional gig was in Atlanta, GA, working as a dancer for MC Hammer.

She developed movement for Topsy and Bopsy that, in an interview with Bossip, described as a fusion, “Chicago style that’s coming through the choreography, mixed in with a Miami vibe, mixed in with just an actual minstrel jig and how the movement was at that time, so it’s a combination of things that I researched, mixed in with modern and old school.” 

Using no special effects, Kaelynn Gobert-Harris and Bianca Brewton employ incredible precision, speed, and stillness to move relentlessly towards Dee. 

“It’s a different way for a scary movement to happen. It’s not your typical same zombie kind of movement, arms straight out and walking stiff… It’s incredible dancing, it’s incredible feet work, it’s incredible high energy, it’s the back story to it all. “

Now, having studied Labanotation, naturally, it’s my initial framework of how I view the world in movement. 

I was immediately struck by how these two characters moved and wanted to take a moment and break down their movement signatures.

Topsy and Bopsy movement signatures

If you’re not familiar with Labanotation, check out my intro post about Rudolf Laban and how his groundbreaking dance notation system can help you develop unique characters from the ground up.

Topsy’s movement is incredibly direct. She’s focused on her target and often relies on a sustained slow movement to creep us out. 

This is extra off-putting because she has moments of sudden bursts of energy, which leaves us wary of what she might do next. 

Bopsy, on the other hand, is playful in her relentless stalking. She’s light on her feet and more indirect. She’ll get to her target eventually. She also operates more suddenly than Topsy, which creates a different sense of unease. You expect her to zag, and she zigs instead. 

The primary difference I see between them is that Bopsy is excited about moving closer and closer to Dee, that she can’t help but dance about it. 

Whereas Topsy is methodical and reserves her energy. 

As Jamaica put it, “She’s ( Bopsy) like, ‘Oh my God, Oh my God, Oh my God, when we get here, when we get here, when we get here, it’s gonna be so great! Oh my God Oh my God.’ And Topsy is like, ‘Yeah sis, I’m going straight to her, that’s all great. Yeah, uh-huh, I’m going to keep going straight for her.“

Together, they create an unpredictable, playfully haunting pair.

But don’t take my word for it. 

Here’s a clip from episode 8, when Dee first sees Topsy and Bopsy.

A quick warning if you’re not a fan of horror. It might be best to skip the clip.

(It goes without saying here, but legal things, I don’t own this video.)

Storytelling through movement

Nothing hits my character movement sweet spot more than telling a narrative through movement alone. 

Sure, words are incredibly important, don’t get me wrong, it’s just that there are times where they’re not needed. 

This is one of those moments where words would have ruined a performance. 

It’s a great reminder of an old exercise I used to do while in scene study classes. Can you take out all the dialogue and still get the story across? 

That’s how vital movement is to storytelling. 

Do you have a favorite character movement example where words weren’t required?

Happy moving!

This week I wanted to look at a spooky classic. 

Something goofy, full of vibrant colors and witches. 

Three witches, to be exact.

In anticipation of the sequel (even though it’s a year away minimum), I wanted to dive into the world of the Sanderson Sisters from 1993s Hocus Pocus.

Winnifred, Mary, and Sarah. 

Played by Bette Midler, Kathy Najimy, and Sarah Jessica Parker, respectively.

Nearly 30 years after its release, Hocus Pocus just keeps gaining traction and a following that simply won’t stop. 

Which is well deserved indeed. 

It’s easy to spot how much fun they had with these roles, and each sister displays a different movement signature which only adds to their unique characters. 

Real quick: for last week’s spooky character movement study, check out The Man Inside the Xenomorph.

If you want more character movement studies that are also rather spoopy, check these out: NBC Hannibals Red Dragon, Angelica Huston’s Morticia Addams, The Descendants Crawlers, Taika Waititi’s Viago, and Train to Busan’s zombies.

For many, I think it’s safe to say that Hocus Pocus is a staple film to watch every year. 

I mean, what more could you want? 

Three witchy sisters, searching for children to complete their potion for youth and the kids who thwart them at every turn?

Absolutely brilliant.

So, here’s my thoughts on how I would break down the movements of each of the Sanderson sisters. 

Cos I can’t choose just one.

That’d be rude.

Also, quick shout out to Doug Jones, who plays Billy Butcherson the zombie. His character movement performance is incredible.

Witchy movements

Now, as I’ve no way of knowing if these three ladies used Labanotation when developing the sisters or not, this character movement study is me exploring how I would break down each of their movements from my background. 

If you’re not familiar with the work of Rudolf Laban or Labanotation, check out my intro post to get acquainted with this excellent building-block method for creating physically diverse characters. 

It’s my go-to for creating character movement signatures and is a handy tool for quick shifts in movement for auditions

One thing that pertains to all three sisters that I found delightful was from a post from Insider:

“According to an archived press release, the film’s choreographer, Peggy Holmes, said each of the Sanderson sisters flew their brooms ‘in character.’

Holmes said, ‘Winifred is in charge and much more aggressive than the other two. She’s always leading the way and looking for children. Sarah loves to fly. She’s always lifting up with her mop and can’t wait to get up in the air, whereas Mary is more cautious. Like a good driver, she signals with her hand. Mary is the safe and steady flier,’ she added.”

Here’s the link to the press release article.

This alone really speaks to their characters. 

Winnifred is driven, Mary is cautious, and Sarah is carefree.

So, how else do they embody these characteristics physically?

There are two methods I want to look at for each performance. Firstly, where are they leading from? (What is the first part of their body to move), and secondly, their baseline movement signature. 

Winnifred Sanderson

Winnifred, or Winnie, is aggressive and takes her leadership very seriously. 

I would say that her leading point is her hands. 

It’s incredible, really, to see how much she uses them and how her gestures then trickle all the way down through the rest of her body.

Her movements are incredibly direct, sudden, and bound.

The focus she exudes is razor-sharp, and I often find myself watching her eyes to see when she blinks. 

What adds to her spooky attitude is how suddenly she moves. Her movements have acceleration to them, and they’re over quickly. 

Such as when she’s tossing Max around when they first meet with her powers. It’s almost a swish and flick thing, with more of an emphasis on the flick.

Mary Sanderson

Mary is cautious, takes her cues from Winnie, and loves sniffing out children.

Her lead point, I’d say, is her nose. As she’s always sniffing out for children. She tends to lean forwards as she walks with her nose guiding the rest of her body. 

Her movements are more sustained in nature vs. Winnie’s, and her center of gravity is lower. Therefore she operates more heavy and grounded vs. light and bouncy, like Sarah.

I would also add that her relationship with space is somewhere between direct and indirect.

She’s not as indirect as Sarah, and in no way is she as direct as Winnie. However, she has moments where she employed one then the other, and sniffing out children is an excellent example of this.

When using her nose to catch a child, she starts out indirectly, getting a general sense of the direction. However, once she’s picked up on the scent, her focus narrows and directly goes for the kill.

Sarah Sanderson

Sarah is bouncy, loves boys and flying. 

Her lead point is without question her chest, as it sticks out and arches her forward wherever she moves. 

Sarah is incredibly indirect and distractable. Her focus is often hazy, and unless otherwise directed, when she’s going somewhere, she moves in such a way where she’ll get there eventually.

At the beginning of the film, she doesn’t take the direct path to the wall of ingredients. Instead, she dances around the cauldron, weaving her way in and out of the space, twirling as she goes. 

Her movements are free-flowing and light, often appearing on her tiptoes. It also takes multiple tries to get her to stop moving. Whether it’s by Winnie’s glare or by physical force.

“I suggest we form a calming circle.”

When they get together, the Sanderson sisters create a cornucopia of movement that is a delight to watch.

They each have their own distinct movement signatures but come together to unite seamlessly. 

The hunched stride they use to move about the streets during trick or treating is a great moment where their styles merge together as they work together. 

So, have you watched Hocus Pocus yet this year?

Is it a staple for you, or is it new to your spooky repertoire?

Either way, go forth and run amok!

Amok, amok, amok! 

Continuing the spooky season this week, I wanted to look at one of my favorite performances, the original alien or Xenomorph from Ridley Scott’s 1979 classic, Alien.

After landing in theaters only two years after Star Wars: A New Hope, the Alien franchise continues to grow, diving deeper into the mythology, and expanding the universe and fandom. 

But for me, nothing beats the original creature that burst from Kane’s (John Hurt’s) chest, giving birth to a new type of sci-fi horror. 

Real quick: for last week’s spooky character movement study, check out How Bone-Breaking Gave Us a New Zombie.

If you want more character movement studies that are also rather spoopy, check these out: NBC Hannibals Red Dragon, Angelica Huston’s Morticia, The Descendants Crawlers, and Taika Waititi’s Viago.

Now, onto the man inside the Xenomorph.

Alien 

For Ridley Scott, director of Alien, he wanted something particular for his alien. Something that the world had never seen before. 

He got his wish. 

But it wasn’t easy.

The alien itself may only appear in the film for a fraction of the run time, but the threat of it possibly being right around the next corner or on the other side of the duct door is simply the best nightmare fuel.

Scott brought Swiss artist H.R. Giger to create the beautifully grotesque Xenomorph. Giger also had a hand in every other aspect of production design. 

If you’re not familiar with Giger’s work and you love the look of Alien, check him out.

Giger’s macabre, surreal style brings a biologically industrial look to the Xenomorph. 

“I always wanted my alien to be a very beautiful thing, something aesthetic. A monster isn’t just something disgusting; it can have a kind of beauty.”

So, Ridley Scott had the look down. Now they just needed an actor to slip into the complex and awkward latex suit that had been constructed. 

Which turned out to be a rather complex casting process.

They needed someone of imposing appearance, tall, slender, and could move in an in-human-ish way. 

They auditioned mimes, contortionists, basketball players, and even Star Wars’ Chewbacca, the late great Peter Mayhew, but no one quite brought what they were searching for. 

Enter Bolaji Badejo.

Bolaji Badejo story

Bolaji Badejo, born in Nigeria, was only 26yrs old when he donned the Xenomorph suit. 

He was living in London at the time and going to school for graphic design when he walked into a pub at the right time.

Agent Peter Archer, who was working on the Alien project, spotted him immediately. 

After all, being 6′ 10″ and incredibly lean, Badejo was relatively easy to spot.

Archer convinced Badejo to come in and audition for the role, and he quickly became Scott’s choice to bring the creature to life. 

The suit itself

Giger, once Badejo was cast, remolded the suit to fit him perfectly. “I will have a new cast made from the chest down.” he wrote. “I think he’s our man.”

Now, performers who work in suits or complex makeup often have a lot of challenges ahead of them. Long days and often sweltering conditions. Badejo initially couldn’t sit down because of the tail, so they made a swing for him.

Which honestly sounds downright adorable to me.

Oh, and he could barely see out of it. 

“The Nostromo set itself was only about 6’6 high. I’m 6’10, 7′ with the suit on. I had to be very careful how I spun around or did anything. It was terribly hot, especially the head. I could only have it on for about fifteen or twenty minutes at a time. When I took it off, my head would be soaked.”

So, we’ve got an actor, working under intense conditions, having to perform a creature who’s now known for its sneaky, slow movements. 

Easy, right?

Breaking down movements

“The idea was that the creature was supposed to be graceful as well as vicious, requiring slow, deliberate movements. But there was some action I had to do pretty quick.”  Badejo stated in an interview in the magazine Cinefantastique. 

So, how would we break down the xenomorph’s movements by way of Labanotation?

(For the record, I haven’t found any info that Badejo used Labanotation in his movement, but this is how I would break his work down using this system.)

If you’re not familiar with the work of Rudolf Laban or Labanotation, check out my intro post to get acquainted with this excellent building-block method for creating physically diverse characters. 

It’s my go-to for creating character movement signatures and is a handy tool for quick shifts in movement for auditions.

Xenomorph movement signature

My movement signature interpretation for the Xenomorph is a baseline of sustained, direct, and bound. 

There’s a gracefulness to how it moves. Its body is constantly in motion, regardless of how slow. 

Now, a sustained movement has a longer acceleration and deceleration, as though some part of the body is always moving at any given time.

Sustained is not often combined with bound, because in some ways, they work against each other. 

Bound meaning that there is some sort of force inhibiting the movement. 

As an example, I often employ bound when playing a character who carries a lot of physical tension in their bodies. 

Think of how your body may feel after standing up, having been seated for a long time. Your body is stiff, right? Perhaps some joints are a bit locked, or some muscles are more challenging to move. 

Or, if you’re walking into a windy day, you would have to brace your legs more, grounding them, to be sure to not get knocked down. 

These are all examples of bound.

Being as tall as it is, as Badejo stated, 6’ 10, 7’, the xenomorph is often in some sort of crouched, hunched, or squatting position. Perhaps curled up in small spaces to keep warm. 

So, uncurling or standing up, while its lower body is bound and grounded, using its strength to move slowly and seamlessly, is quite a feat. 

As a preditor on the hunt, it only seems right to add direct to its movement signature. Once it sets its eyes on you, you’re in its sights, and it’s (usually) game over. 

All of these building blocks of movement, sustained, bound, and direct, dovetail together beautifully. 

The Xenomorph’s ability to move so slowly and deliberately, where you know it can spring forward suddenly is a terrifying concoction. 

Other movement qualities

What we do know is that once Badejo was cast, he began mime lessons. One source I found even states that he worked with Tai Chi as well, which I can believe. 

The incredible control over his body and the way his muscles worked-considering he was working in a slightly crouched position the entire time, shows absolute control, strength, and grace, especially when you remember that he could barely see! 

Here’s a beautiful behind-the-scenes video of Badejo hard at work. It’s phenomenal to see him without the suit on and really being able to see how slow and delicate he’s moving. 

Because, for anyone who’s done squats, being able to squat all the way down to the floor and back up smoothly and slowly is something to be proud of.

Here’s to actors in suits

For me, being both an actor and consumer of entertainment, nothing beats a human in a suit or makeup to create creatures. 

They complete the environment, and it’s more fun to play opposite of. 

But, these roles require a great deal of stamina, strength, and perseverance. 

Let alone an intimate awareness of themselves and how they move. 

After finishing the filming of Alien, Badejo returned to Nigeria and eventually opened a gallery until his death from sickle cell anemia in 1992, he was 39.

Alien is his only film credit, and it is truly a masterful performance. 

His work in Alien continues to inspire me and remind me of how important practice, patience, and play are within character movement work. 

As spoopy season feels fully underway (once I have to have socks on in the house, I know autumn is officially here), I’ve decided to spend the next few posts on character movement studies of characters or creatures that fit snugly into October. 

In looking back at the character movement studies I’ve done so far on this blog, it turns out I’ve studied and written about quite a few ‘spooky’ characters. Actually, every single one. NBC Hannibals Red Dragon, Anjelica Huston’s Morticia Addams, The Descendants Crawlers, and Taika Waititi’s Viago from What We Do in the Shadows.

What can I say?

I’m constantly drawn to these kinds of characters.

Real quick, If you’re not familiar with my blog, firstly, welcome!

Secondly, I’d suggest checking out my intro post about the work of Rudolf Laban, as I use his process and notation system as my foundation for how I break down movement.

Let’s talk zombies

Zombies, whether we’re fans or not, aren’t going anywhere. At least not anytime soon. 

Movies and tv shows continue to pour out these creatures, with their shred of humanity shaken up and stirred with a taste for brains and flesh.

I could easily write a dozen blog posts about the different kinds of zombies that have appeared across the span of entertainment, and perhaps I will someday. 

Now, to be a zombie takes dedication to character movement, body awareness with a huge dash of creepy. 

I mean, The Walking Dead puts actors through what they call Zombie School. Which is a series of auditions to find what performances would best fit their world.

More traditional zombies, the modern zombie as we know it was first created by George Romero, are shamblers.

Think of movies/shows like Dawn of the Dead (the original), The Walking Dead, and Shaun of the Dead. These zombies can’t run. Instead, they meander towards their target.

From a movement perspective, this is a very controlled yet sustained kind of movement. 

On top of this, there’s an element of flow to them. Their bodies are continuously moving, one micro-movement stacked upon the other. So, unless they’re inhibited by some sort of external force that keeps them from moving forward, they find a way to flow over keep moving towards their target.

Sure, there are jump scares, but the movements themselves are more continuous, and though they may be reaching out for an unsuspecting human, there’s often an indirect nature about them. 

Once you get used to them, they really only pose a threat as a horde or if you get yourself in a tricky situation that’s more dictated by your environment, such as wading through water, dead ends, etc. 

There is an art to being this kind of zombie, where you have to be aware of how your body is moving at all times, specifically your speed. 

These movements are sustained, indirect, and flowing.

A quick note on running zombies

There are also running zombies, of course, like in World War Z (where a great deal of the zombie work was CGI) and 28 Days later. These zombies have a quick directness to them, but there’s very little attention to detail. 

In my opinion, from a movement perspective, what makes them scary is simply how quickly they can overwhelm you. 

And while, of course, there are a few actor movement performances, say, in World War Z, that show irregular, jarring movements, it’s almost as though we don’t get to really enjoy it. 

I’m thinking of the few who transform in the street at the beginning of the film. For me the issue was that the camera moves around so quickly, we miss a great deal of the artwork behind those contorted movements. 

Also, with the release of Army of the Dead, we have a whole new breed of zombies entering the playing field, but this post isn’t about them.

Train to Busan zombies

But, what I really want to dive into, is the zombies in the 2016 Korean film Train to Busan.

So, what makes the zombies in Train to Busan different?

If the zombies we’re more used to are shamblers, with their meandering, indirect, sustained movements, the zombies from Train to Busan are sudden, direct, and bound. 

The choreographer and movement coordinator for Train to Busan is dancer Jeon Young. He’s a member of Centipedz, the only bone-breaking street dance group in Korea.

A brief background on bone-breaking 

Bone-breaking originated in Brooklyn, NY, and is a rhythmic contortionist movement style of street dance. 

It falls under the category of flexing, which has its roots in a Jamaican style of street dance called bruk-up, meant to resemble broken limbs.

It’s gained a lot of traction in certain circles, and it can be pretty cringe-worthy.

It’s like seeing a car crash and not being able to look away kind of thing. But the skillset, practice, and dedication that goes into it is absolutely stunning.

Check the link here for a fantastic youtube vid demonstrating the style. But, be aware it may be challenging to watch.

I hope it goes without saying, if you’ve got an interest in working with the dance style of bone-breaking or flexing, please take care of yourself and be aware of your body’s limits.

Back to Train to Busan

So, what Jeon brought to the table for Train to Busan, was working with actors and teaching them techniques they could practice, often for months before shooting, so that each actor could discover their own unique style.

Jeon said, “Yeon (the director) asked me to create movements that were similar to people who were infected with rabies, and the grotesqueness of this motion had a mind-blowing impact [on audiences].” 

The seizure-like, erratic movements are fully connected. The control over their sometimes flailing limbs while appearing to have no control is incredible. 

Something as ‘simple’ as one zombie being slammed into a wall is fascinating to watch. Their hand flips about awkwardly, or they fall over and land on their face, to only roll up and attack.

Their movements appear incredibly inhuman, and to me, it’s what makes them as uniquely beautiful as they are horrifying. 

Each zombie has its default mode. When seeing prey, layers the Laban building blocks of sudden, direct, and bound. 

One specific performance, though brief, continues to blow me away. “Actor Woo Do-im, whose character is part of the train crew and is the second person in the film to get infected, trained for four to five months for her brief but powerful appearance in the beginning of the film.” Her controlled, bound, and sudden sporadic, and lack of control is incredibly precise.

And for anyone who’s acted drunk can attest, playing a state of altered being that you are not, in fact, experiencing can be incredibly difficult. 

I’ll link the isolated scene here. But, if you haven’t seen the entire film and are intrigued, I can’t recommend it enough. 

But I will also warn, it’s a film full of all the feels.

Surrounded by zombies

As a character movement actor, thinking about how you’d break down playing a zombie is a wonderful exercise.

I don’t believe that you have to be a fan of zombies or spooky things to give it a go and play a little. Who knows what you may discover. And, hey, you may end up finding yourself in a school for zombies somewhere down the line.

So, which style appeals to you more?

Shamblers who operate more sustained, slightly in-direct movements with a lot of flow? 

Or…

The bone-breaking, frenzied, bound, and direct zombies of Train to Busan?

(Oh, and for those interested in seeing more work of Jeon Young, he also was the choreographer/movement coordinator of the Korean series: Kingdom. ( Also about zombies)

Happy shambling/frenzied staggering, and please don’t bite your neighbor. 😉

After last week’s post, I needed something upbeat and delightful. 

While working the other day, I had my Spotify music on shuffle, and You’re Dead by Norma Tanega began playing. Though it was released in 1966, it’s gained new popularity with the mockumentary What We Do in the Shadows. 

I immediately knew then that Viago, played by Taika Waititi, would be an excellent addition to my character movement studies.

The film details the events of a documentary crew that follow four vampires, Viago, Vladislav, Deacon, and Petyr, in their flat near Wellington, New Zealand. 

As might be expected, hijinx ensue.

It’s absolutely delightful. From vampire feeding accidents, flatmate disagreements, creative chase sequences mixed with quirky, quick wits. The list of its charms goes on and on.

From the creative minds of Taiki Waititi and Jemaine Clement, released in 2014, the film has since spawned an incredible spin-off series of the same name that is releasing its third season in September. 

I’ve no clue if Taika used Labanotation to help him develop Viago. So this post is simply me analyzing his performance from a Laban character movement perspective. 

Movement clue

Before diving into Labanotation specifically, I wanted to mention a significant clue in the script that indicates Viago’s movement. We hear it from his fellow vampire flatmate, Vladislav.

Vladislav states in an interview: 

“He’s an 18^th Century dandy, so he can be very fussy.”

This is an excellent reminder that frequently, as actors, we can gain a lot of knowledge about the characters we play by what other characters say about ours.

So, a quick history lesson on the term dandy.

Merriam-webster dictionary states that dandy is: 1: a man who gives exaggerated attention to personal appearance. Or 2: something excellent in its class.

The term became popular in the late 18^th century and into the majority of the 19th. Oscar Wilde, Lord Byron, and Salvador Dali are some great examples of dandies. 

“A Dandy is a clothes-wearing Man, a Man whose trade, office and existence consists in the wearing of Clothes. Every faculty of his soul, spirit, purse, and person is heroically consecrated to this one object, the wearing of Clothes wisely and well: so that the others dress to live, he lives to dress.” Thomas Carlyle, ‘The Dandiacal Body,’ in Sartor Resartus.

So, Viago, being an 18th-century dandy in and of itself, is going to inform his movement signature. 

His attention to detail of his appearance, which he needs to be tidy, also extends to his environment. 

There’s a deep love he has for frilly collars and sleeves, cravats, jewelry. Oh, and his romantic nature, of course.

To me, this also indicates a lightness in the way he moves. There’s a quirky grace to him that is simply precious and a joy to watch.

Alright, onto Labanotation character movement breakdown!

(If you’re not familiar with Labanotation or how actors can use this incredible dance notation tool to create characters physically from the ground up, check out this post! It’ll help you better understand the rest of this post ;))

Viago movement signature

In delving into his quirky grace, there is a delicate way he engages with objects. A foundational block of his movement signature is: light. 

His movements don’t seem to require a lot of effort, and even when he’s upset, there’s very little tension about how he moves. 

This is especially true when comparing him to both Vladislav and Deacon, who I would both say operate more with heavy/strong vs. light when looking at the category of weight.

Along with this, looking at the Laban category of flow, Viago defaults to the free side of the spectrum. 

Free with an undercurrent of sustained because his movements tend to linger slightly.

Lastly, the final core Laban building block I would express here is indirect. There’s a meandering energy to him, even avoidance or hesitancy.

A moment that comes to mind is when he’s hypnotizing the cops. The way he waves his hand, although it’s directed towards them, there is an indirect way he does it, as though he knows hypnotism isn’t a strong skill, and his insecurity and worries seep out in the way he moves. 

So, what we have as Viago’s default movement signature is light, free, sustained, and indirect.

Of course, there are moments where he doesn’t follow these blocks.

Such as when he is outside the window of his lady love. Though still light and sustained, his movements are very direct. 

Viago interacts physically with the world around him and also helps to amplify the others’ physical characteristics and movement signatures. For example, both Vladislav and Deacon, specifically by default, are more sudden, heavy, and incredibly direct.

18th century dandy for the win

Overall, Viago is delightful fun to watch move as Taika Waititi frankly always is. 

Full stop 🙂

Here’s to all the dandy vampires out there!

Creature features are fun

I’ll say this: I’m familiar with the horror genre, but I’m not a huge fan. 

Rather, I don’t seek out being terrified. 

I can find enough of that in the real world.

But, creature features? Now, those…those I’m a fan of.

Especially if an actor plays said creature with makeup, prosthetics, or a suit. Pre-CGI or a low CGI project is golden for me. 

I’m always fascinated to watch these actors and see the work they do behind the masks. 

Think the xenomorph from Alien, zombies from Train to Busan, or the Amphibian Man from The Shape of Water, (really anything Doug Jones does), or, for this post, the Crawlers from 2005s The Descent. 

They’re undercover actors, really, as Craig Conway, one of the Crawlers mentioned in the behind-the-scenes video.

Written and directed by Neil Marshall, the film spawned a less successful sequel in 2009. Which, honestly, I don’t remember terribly well. 

It’s the original that sticks with me.

The short elevator pitch, if you’re not familiar, from IMDb is, “A caving expedition goes horribly wrong, as the explorers become trapped and ultimately pursued by a strange breed of predators.”

So, lots of darkness, cramped spaces, and something alive lurking in the shadows. 

Crawlers of the hidden cave

So, the Crawlers.

They may only appear for a fraction of the film, but they’re nothing short of absolutely terrifying. 

Marshall insisted on casting actors instead of dancers or stunt people as he wanted them to add character. 

By using facial expressions (which is a way to incorporate character movement!), these performances blend the familiar and the horrifying.

Covered head to toe in makeup, a fair share of prosthetics, these Crawlers still carry a human streak when you look closely enough. 

This was intended. 

The explorers, early on, come across old cave artwork, leading us to believe that the Crawlers were cave people who simply never left, evolving into what they are today.  

Now, let’s get into how they move!

Firstly, (as always) a disclaimer: 

I have no idea if the actors who played the Crawlers used Labanotation. Judging from behind-the-scenes footage, there was a great deal of prep involved in creating the Crawlers physically. Through what appeared to be tumbling, gymnastics, and contact improv. 

So, long story short, this is my interpretation of their movement work from the lense of Labanotation.

The Crawlers and Laban

These Crawlers, they’re predators. So, naturally, they’re impeccable crawlers, right? 

Truth.

The majority of the time we see them, they’re on all fours, though they can stand fully upright. 

Now, the movement signature that immediately comes to mind for these creatures is: 

Light, direct, and sustained.

I would consider this the baseline. There are moments where two of these opposites are employed, heavy and sudden. 

Indirect doesn’t happen, though. They always have a purpose in the way they move.

So, let’s break this down:

Light

Now, light (or heavy, which is the opposite) refers to the relationship with gravity. They don’t require a whole amount of force when they attack, as an example. There’s this pounce and perch on their prey way of doing things.

They almost hug the earth beneath them when they crawl, and at the same time, they’re very light on their feet.

I’m thinking of a big cat on the prowl, light yet controlled steps forward. 

We’ll add a bit of bound in here, too, as their movements are so controlled. Because, without a dash of bound, they’d simply flow freely down the cave walls, and well, that’s not very terrifying, is it?

Direct 

These creatures are incredibly direct. They set their attention on something, and they become laser-focused. 

Directness in movement, specifically, in this case, is a conservation of energy. So they only move when they need to.

It’s practical and makes sense. Anything less would seem off, less terrifying.

Time

Lastly, let’s talk about time.

Sudden vs sustained. 

Sudden referring to a movement of short duration. There’s a burst of energy, an acceleration, or a pounce if you will. They use this often when they strike of course. 

However, I would say their default is more sustained. 

The moment (spoilers) when one is crouched, unknowingly over Sam and Rebecca, Sam realizing they’re blind, is when we get a lovely moment to see it up close. 

It seems always to have some part of its body in motion, however subtle. 

As the opposite of sudden suggests, sustained is a movement that has a longer duration. As a result, there isn’t much acceleration.

The Crawler then, well, crawls off with sustained movement. Then, a moment later, Sam’s alarm on her watch goes off, and we see in a fraction of a second the Crawler shifts into sudden. 

Freedom of movement

“To let yourself go, in something like this, you have to trust your body. Although you have to be conscious of what you’re doing and choreograph certain things, there just has to be a sense of freedom. I think that’s exactly how you can confidently pull off being a ‘beast.’”-Craig Conway

There is freedom in the way that the Crawlers move.

It’s this uninhibited, primal, comfortable in their own skin kind of freedom. 

After all, they are the descendants of cave people who evolved into what they are today, and their movements represent that beautifully.

They’re incredible, really.

Though you won’t find me spelunking in a cave anytime soon to find them!