West Side Story: The Making of Steven Spielberg's Modern Adaptation
For over two decades, Steven Spielberg harbored a dream of directing a conservative, old-fashioned 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 return to a piece of popular music that had deeply influenced him as a child. Dedicated to his father, Arnold, the film sought to bridge the gap between the original 1957 stage musical and a contemporary audience.
Spielberg viewed the story's themes of racial and territorial division as more relevant today than they were during the original production. By collaborating with screenwriter Tony Kushner, Spielberg aimed to create a version that remained faithful to the musical numbers while staying closer to the stage play's narrative than the 1961 cinematic version.
Key Facts
- Director: Steven Spielberg, who viewed the project as a lifelong dream.
- Screenplay: Written by Tony Kushner, focusing on a closer adherence to the original stage musical.
- Casting: Rachel Zegler was selected as María from a pool of over 30,000 applicants.
- Production Scale: Filmed over 79 days across New York City and New Jersey.
- Choreography: Created by Justin Peck, blending original movements with homages to Jerome Robbins.
- Visuals: Costumes used color coding (cool tones for Jets, warm tones for Sharks) to distinguish the gangs.
Pre-Production and Casting
The journey toward production began in earnest in March 2014. After 20th Century Fox acquired the rights, Spielberg navigated a tight schedule, balancing this project with the fifth Indiana Jones film. Open casting calls were held in New York City and Orlando, Florida, to find the lead roles of María, Tony, Anita, and Bernardo.
The casting process was rigorous. Newcomer Rachel Zegler won the role of María, while Ariana DeBose, David Alvarez, and Josh Andrés Rivera were cast as Anita, Bernardo, and Chino. Mike Faist, whom Spielberg had spotted in the Broadway production of Dear Evan Hansen, was cast as Riff after initially auditioning for Tony. Notably, Rita Moreno, who played Anita in the 1961 film, returned to the project as an executive producer and in the role of Valentina.
The Filming Process
Principal photography took place in July and August 2019, spanning locations in Harlem, Brooklyn, Paterson, and Newark. All physical sets were constructed at Steiner Studios. One of the most technically challenging moments was the "puddle shot," a last-minute suggestion by cinematographer Janusz Kamiński, where Tony's step into a puddle transforms into a pool of rippling light.
Technical Mastery in the Gym Sequence
The "Dance at the Gym" sequence is a highlight of the film's technical execution. To create the illusion of a single continuous shot, Kamiński stitched together three different takes, transitioning from a Steadicam to a cable cam. The lighting team used a dimmer board to fade lights in and out as the camera rotated, maintaining the romantic atmosphere. Additionally, sound effects recordist Andy Aaron recorded the dancers' footsteps live on set to ensure a clean audio mix.
The Debate Over "I Feel Pretty"
Not every song was an easy inclusion. Spielberg and lyricist Stephen Sondheim initially considered cutting "I Feel Pretty." Sondheim had originally written the upbeat number as a protest against producer demands for a post-intermission song and later expressed embarrassment over its lyrics. However, Tony Kushner argued that the song was essential because it creates a dramatic irony where the audience feels protective of María, knowing the tragedy that follows.
Choreography and Visual Design
Choreographer Justin Peck worked in tandem with Spielberg and Kamiński to ensure the dance movements complemented the camera work. Rather than strictly recreating Jerome Robbins' original choreography, Peck used it as a foundation, adding original movements to increase realism and symbolic depth.
In the "Rumble" scene, the movement begins with Robbins' choreography but evolves into Peck's original work as the violence intensifies. In contrast, the "America" sequence—moved from a rooftop to the streets of New York—featured intense choreography that caused Ariana DeBose's dance shoes to melt due to the heat and physical exertion. Remarkably, all actors performed their own dancing without the use of doubles.
Costume Symbolism
Costume designer Paul Tazewell used a specific color palette to visually separate the two warring factions. Drawing inspiration from 1950s photography by Gordon Parks, Tazewell dressed the Jets in cool tones to mirror the steel and concrete of New York City. The Sharks were dressed in warm tones and floral patterns to evoke the tropical feel of Puerto Rico.
| Category | Details |
|---|---|
| Filming Duration | 79 Days |
| Key Locations | Harlem, Brooklyn, Paterson (NJ), Newark (NJ) |
| Lead Casting | Rachel Zegler (María), Ansel Elgort (Tony) |
| Visual Theme | Cool tones (Jets) vs. Warm tones (Sharks) |
| Choreography Style | Symbolic blend of ballet and realism |
Frequently Asked Questions
Did the actors use dance doubles?
No, all of the film's actors performed their own dancing. While dance doubles were on standby for underage actors, they were not utilized in the final production.
How does this version differ from the 1961 film?
This adaptation is closer to the original stage musical than the 1961 film. It also employs a more realistic approach to the choreography and updates the setting of certain numbers, such as "America," which was moved from a rooftop to the streets.
Why was the song "I Feel Pretty" almost cut?
Steven Spielberg and Stephen Sondheim questioned if the upbeat nature of the song worked without a theatrical intermission. It was kept after Tony Kushner explained its importance in establishing the audience's emotional connection to María.
What was the significance of the costume colors?
The colors were used to distinguish the gangs: the Jets wore cool tones to represent the urban environment of New York, while the Sharks wore warm tones and florals to represent their Puerto Rican heritage.
What role did Rita Moreno play in this production?
Rita Moreno served as an executive producer and played the character Valentina. She also consulted with choreographer Justin Peck and provided a bridge to the original 1961 production.