West Side Story: The Making of Steven Spielberg's Modern Adaptation
For over two decades, Steven Spielberg harbored a dream of directing a classic, conservative musical in the vein of Singin' in the Rain. This ambition culminated in the reimagining of West Side Story, a project that allowed Spielberg to connect with a piece of music that had been a part of his family life since childhood. Dedicated to his father, Arnold, the film seeks to translate the timeless struggle of racial and territorial divides into a contemporary cinematic language.
The development of the film was a collaborative effort, with screenwriter Tony Kushner ensuring the story remained closer to the original stage musical than the 1961 film adaptation. Spielberg noted that while the divisions between the Sharks and the Jets in 1957 were profound, the social and racial divides of the modern era made the story even more relevant to today's audiences.
Key Facts
- Director: Steven Spielberg.
- Screenwriter: Tony Kushner.
- Choreographer: Justin Peck.
- Filming Duration: 79 days of principal photography.
- Casting Scale: Over 30,000 applicants for the role of María.
- Performance: All actors performed their own dancing without the use of doubles.
Pre-Production and Casting
Pre-production began in earnest in 2018 after the scheduling of a fifth Indiana Jones film was adjusted. The casting process was rigorous, involving open calls in New York City and Orlando, Florida. Newcomer Rachel Zegler was selected for the role of María from a massive pool of applicants, while Mike Faist was personally invited to audition by Spielberg after the director saw him in the Broadway production of Dear Evan Hansen.
The production also bridged the gap between the original 1961 film and the new version by casting Rita Moreno. Having played Anita in the original movie, Moreno returned as Valentina and served as an executive producer, providing a living link to the story's cinematic history.
The Filming Process
Principal photography took place across New York City—specifically Harlem, Manhattan, and Flatlands, Brooklyn—as well as Paterson and Newark, New Jersey. Sets were constructed at a warehouse at Steiner Studios to maintain control over the environment.
Technical Innovation and the "Puddle Shot"
Cinematographer Janusz Kamiński utilized advanced techniques to create a seamless visual experience. One of the most celebrated moments is the "puddle shot," where Tony steps into a puddle that transforms into a pool of rippling light. This shot was a last-minute addition suggested by Kamiński and was the final scene filmed during principal photography.
The Gym Sequence
The "Dance at the Gym" sequence was a technical feat, stitching three different shots together to mimic one continuous take. It transitioned from a Steadicam (a stabilized camera mount) to a cable cam that soared over the gym. To maintain the romantic atmosphere, the lighting team used a dimmer board to fade lights in and out as the camera turned. Additionally, sound effects recordist Andy Aaron recorded the dance footsteps live on set to ensure a clean audio mix.
Artistic Direction: Choreography and Costumes
Choreographer Justin Peck worked in tandem with Spielberg and Kamiński to ensure the movement complemented the camera work. Rather than strictly recreating the original Jerome Robbins choreography, Peck used it as a foundation, incorporating "quotes" of Robbins' work for nostalgia while adding original movements to enhance realism.
Peck aimed to move away from the perceived mockery of "ballet-style" gang warfare, instead treating dance as a symbolic expression of unity and tension. This is most evident in the "Cool" sequence, which blends virtuoso ballet with the violence of a fight over a gun.
Visual Storytelling through Costume
Costume designer Paul Tazewell used color theory to visually distinguish the two warring factions. Drawing inspiration from 1950s photography by Gordon Parks, Tazewell dressed the Jets in cool tones to evoke the steel and concrete of New York City. In contrast, the Sharks wore warm tones and floral patterns to represent their Puerto Rican heritage and tropical origins.
| Category | Details |
|---|---|
| Filming Locations | New York City (Harlem, Brooklyn) and New Jersey (Paterson, Newark) |
| Key Cast | Rachel Zegler, Ansel Elgort, Ariana DeBose, David Alvarez, Rita Moreno |
| Visual Style | Cool tones (Jets) vs. Warm tones (Sharks) |
| Choreography Approach | Symbolic blend of original Robbins movements and new original work |
Frequently Asked Questions
Did the actors use dance doubles?
No. While dance doubles were on standby for underage actors, all actors in the film performed their own dancing, including Ansel Elgort, who studied at the School of American Ballet.
Why was the song "I Feel Pretty" almost cut?
Steven Spielberg and Stephen Sondheim initially wanted to remove it because Sondheim felt the lyrics were embarrassing and Spielberg questioned its placement without an intermission. Tony Kushner convinced them to keep it, arguing that it creates a protective emotional bond between the audience and María.
How did the production handle the "America" sequence?
Unlike the 1961 film's rooftop setting at night, the new version was filmed on the streets of New York during the day. The shoot lasted 10 days across Harlem, Queens, and Paterson.
What was Rita Moreno's role in the new production?
Rita Moreno served as an executive producer and played the character Valentina. She also consulted with choreographer Justin Peck and provided emotional insight during the filming of scenes involving her previous character, Anita.