Hello! I’m Bill Condon, the director and screenplay adapter for “Kiss of the Spider Woman.” We’re diving into a pivotal scene from the film-within-a-film – a vibrant musical dance sequence. In this segment, Jennifer Lopez shines as a brilliant fashion editor, visiting a quaint village alongside the talented photographer Diego Luna and her loyal best friend, Tonatiuh. Their arrival, however, catches the attention of Tony Dovolani, who portrays the powerful gangster controlling the village’s club. What’s fascinating is that Tony, a legendary ballroom dancer, previously worked with Jennifer on “Shall We Dance” years ago, making this a special on-screen reunion for these two incredible performers.
During the creation of this dance number, Jennifer’s unwavering commitment was truly inspiring. She challenged us, saying, ‘Don’t make it easy on me; I want to tackle difficult things.’ So, those impressive moments – her snatching the glass, dropping to the ground, spinning, and then rising fluidly – were all her brilliant ideas. You’ll also observe that we filmed this sequence in a classic, wide ‘master shot,’ allowing you to appreciate the dancers’ full movements, much like old Hollywood musicals. The specific take I selected for the movie captures a magical unplanned moment: Diego Luna, captivated by Jennifer’s phenomenal performance, instinctively reaches out to prevent her stunning Colleen Atwood fringe from colliding with a champagne glass. It was pure cinematic serendipity! The choreography itself was a collaborative effort, spearheaded by Sergio Trujillo, Christopher Scott, and Brandon Bieber. The geographical challenge was unique; Diego was rehearsing in Madrid, Jennifer in Los Angeles, and we were based in New York. This meant a continuous, dynamic exchange of creative ideas across continents.
Beyond the dazzling dance, this scene subtly weaves in a compelling romantic triangle. Diego Luna’s character remains deeply in love with Paulina Paz, a woman from the village who, ironically, is involved with the gangster. Meanwhile, Jennifer’s character represents his blossoming new affection. This intricate emotional dynamic isn’t just confined to this performance; it’s cleverly mirrored and amplified in the intense prison drama that unfolds later in the narrative. The dialogue at the end, “I’ll see you in the lobby in the morning?”, and later, “And with that, I say Ciao. Good night, Valentín.” followed by “No, don’t stop now,” and “It’s a bunch of silly clichés, but at least these new characters inject a bit of dramatic conflict.” leading to “Better to leave the audience wanting more. Sleep tight,” beautifully hints at the layers of relationships and the dramatic tension at play.