Amanda Seyfried improvised many of her cringe-worthy dance moves for ‘The Dropout’

In “The Dropout,” Amanda Seyfried’s danceable take on Theranos founder Elizabeth Holmes spurred GIFs, memes, and, yes, even Twitter debates about how truly gritty her dance moves are. But it’s all part of the Seyfried method.

While transforming into a Silicon Valley inventor recently convicted of defrauding investors, Seyfried was encouraged by “The Dropout” showrunner Elizabeth Meriwether to fully embody Holmes’ alleged solo dance parties.

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“[The dancing] became, for me, a way to show the character struggling with emotions…because I think she, the character on the show, is not good at venting her emotions,” Meriwether told ET Online, citing an anecdote about Holmes dancing alone in it. car, as shared on the ABC News investigative podcast for which the Hulu true-crime series is adapted.

“It really stuck with me because I was really trying to imagine what Elizabeth Holmes looks like when nobody’s looking at her. And so dancing made sense that way, and I kind of took that and I just ran with it.

Lead star Seyfried worked with a choreographer to “find the right moves” for Episode 2’s more elaborate and lengthy dance sequence as Seyfried’s Holmes dances to Missy Elliott’s “We Run This,” but otherwise, the rest of the dance moments throughout the series are all “spontaneous”.

“It wasn’t choreographed, that’s for sure,” Seyfried said of his “weird, goofy rhythm that you want to hide” as Holmes, and “really getting in touch with the worst dancer in you. That awkwardness is kind of what brings us all together as audience members,” Seyfried continued. “We all have tendencies and awkward moments. And I’m just like, ‘Get it out. I want to see more. .

Seyfried goes wild on tracks like Lil Wayne’s “How to Love,” Amy Winehouse’s “Back to Black,” and LCD Soundsystem’s “North American Scum,” plus a string of pop hits from artists ranging from Nick Jonas to Katy Perry to star in a period piece for the mid-2010s. There’s also the hide-your-eyes sequence in episode 5 where she tries to seduce her lover and Theranos CCOS Sunny (Naveen Andrews ) at the office after a hard day.

“With the music, it was just important to be able to transport the audience to this moment very quickly because the show spans many years,” showrunner Meriwether said, saying music supervisor Maggie Phillips’ goal was to “take you immediately revert to 2009 versus 2015.”

Meriwether explained, “It will be this song that you recognize, you remember it, but it hasn’t been played so much that you’re sick of it. I think songs help you place yourself in time. And I ended up having a lot of fun with that part of the series.

Read IndieWire’s own interview with Amanda Seyfried about honing Holmes’ voice and posture here.

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