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Its crazy, right?
I always felt like we were creating a whole new genre, Hall says.
Katori did her homework, says Craft.
What was awesome is that the script was so vivid, youre reading it and you could see it.
But at the same time, she would allow for me to push the envelope even more.
Halls level of specificity extended to the needle dropsP-Valleyuses for its dance sequences.
For the trinity sequence, the show commissioned music from rapper Tokyo Vanity specifically for the dance.
She recruited dancers who had experience in clubs and with burlesque, as well as professional pole dancing competitors.
Still, you need a baseline understanding of the physics of it all to pull off these tricks.
Dont think that the actresses worked any less than the stunt doubles, Craft says.
The actress would learn everything, but the stunt double would learn everything too.
My job is,Where can we put the actresses in in a safe way to get their coverage?
says stunt coordinator Jennifer Badger.
You film it the way you shoot an action sequence, says episode director Millicent Shelton.
Its about making sure the audience feels as though theyre walking in the high-heeled platforms of the dancers.
We felt comfortable with who they were, and if we didnt feel comfortable, they had to leave.
Evans also emphasizes the thrill that came with pulling off some of those more complicated maneuvers.
I was so exhausted after that one, but Im so glad I did it because it paid off.
