As much as the architecture of the hotel influenced the flow of the show – for example, the elevators are used for the transition between stages – Perron and his team intervened a little to make the space of a lively and functional hotel pass to a camera-ready performance space. “Regarding the look, it was mainly about cleaning the building and giving it a certain identity,” he says. A D. “There are a lot of storefronts on the main staircase, so we had to camouflage and hide any that used curtains. We also re-carpeted all interior areas and some exterior areas. “
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When viewers first see Rihanna, she writhes on a couch in an area reminiscent of a VIP section in a nightclub. “The seating modules were there, which are an incredibly iconic part of the architecture, but we remade them for choreographic purposes and to match the color of the show,” says Perron.
Color is used everywhere to define different scenes (at one point Normani is performing in an all-red room), but much of this color is achieved with the help of lighting, resulting in a very elegant look. and inspired by an action movie. “I kept thinking about DTLA movies, those sweaty summer nights and very saturated movies like Heat, a lot of Michael Mann movies… it’s an exaggerated version of them, ”Perron says.
The whole thing was filmed without an audience for a few days, with the crew juggling the complicated logistics of filming inside an open hotel. But when you watch it all seems like a big late night fantasy, and in the end the morning dawns on Rihanna as she stands on the hotel rooftop, drenched in daylight and clapping.