As the camera circles the crowd in the ballroom, it is dancing too. Later, as the camera pulls back, dancers shift from circles to diagonals, as they thread among one another. Before they act on their attraction, Anna (Keira Knightley) cements her intimacy with Count Vronsky (Aaron Taylor-Johnson) in an ornate dance of the arms that is full of sex and steel. Fluttering fans hint at a secret language.Īnd those are the nondancing scenes. Office workers stamp pieces of paper and then uniformly lift them, so that they float in the air. Servants guide an aristocrat’s arm through the sleeve of a coat or suddenly appear to catch a piece of falling ash from a cigarette and then retreat into the shadows and remain as stationary as pieces of a set. Just as every scene swells with motion, each is also structured in a physical way. Wright’s hyper-stylized film, which takes place not on location but on a stage, movement is constant. There’s a lot of craft involved in that, but there’s also the potential for a lot of emotion.” “I really love the part of my job that is blocking - the movement of actors in space, and their physical relationships, and how you express that through a camera. Wright said in a recent telephone interview from Los Angeles.
“I conceived it as a ballet with words,” Mr. In his unconventional take on “ Anna Karenina,” he pushes this idea to the limit by removing the imaginary line between an actor’s movement and dance.
As the director Joe Wright sees it, everything in a film is choreographed.
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