Ballet Star Tiler Peck Shares the ‘Most Challenging’ Part of Choreographing Olivia Rodrigo’s New Music Video (Exclusive)

The highly anticipated music video for Olivia Rodrigo’s latest track, “Stupid Song,” premiered on Friday, June 12, featuring a unique collaboration that blends contemporary pop with the elegance of ballet. New York City Ballet’s principal dancer, Tiler Peck, was brought on board to choreograph the video, ensuring that the ballet elements were executed with authenticity and precision.

Peck expressed her enthusiasm for the project, stating, “I was thrilled when I received the call, as I’ve always admired Olivia’s music. My first conversation with the director, Mitch Ryan, made it clear that we had the opportunity to present ballet in a genuine and accurate way.” However, she had a specific requirement: “I wanted to use my girls,” referring to her team of skilled ballerinas, to ensure the highest quality of performance.

Drawing from top ballet talent was crucial for Peck. “This was a wonderful opportunity to showcase real dancers and legitimate ballet,” she noted, highlighting her desire to portray the art form in a way that both professional dancers and enthusiasts would appreciate. The level of talent was vital, as Peck aimed to create a product that would resonate with fellow dancers.

One of the most significant challenges Peck faced was the decision to film the choreography at 1.6 times the song’s speed, which would result in a slow-motion effect. “When Mitch explained the concept, I found it both exciting and daunting,” she admitted. This approach meant the dancers had to perform with exceptional timing, as they danced to a sped-up version of the track.

Choreographing in slow motion was uncharted territory for Peck. “It was an interesting challenge for me, as slow-motion filming can inadvertently highlight minor errors in the performance,” she explained. Unlike the dynamic captures seen in normal-time footage, slower recordings might expose imperfections in movements typically overlooked. “Everyone tends to focus on the grand leaps, but this method can magnify the finer details, including the transitions between steps,” she added.

The process was further complicated by the need to swiftly position dancers to achieve the desired aesthetic. With rehearsals scheduled just a week before filming, Peck had limited time to work out the intricacies of their movements. “I realised that certain positions looked more visually appealing en pointe, while off-balance moments had an unexpected beauty,” she reflected. This trial and error proved valuable, allowing her to optimise what would ultimately be captured on film.

Originally, there were discussions about shooting at double speed, which Peck found overwhelming. “The idea was absurd; it would have made our movements resemble something out of a cartoon,” she recounted. Ultimately, they settled on the more manageable 1.6 times speed, capable of conveying emotion while allowing the performers to express themselves meaningfully.

Peck acknowledged the advantage of working alongside professional dancers from respected institutions like the American Ballet Theatre and New York City Ballet. “This made it easier to push my choreography and throw new ideas at them without worrying about their capability,” she noted, appreciating the skill level of her cast. The shoot commenced early, with a 4:45 a.m. call time, with hair and makeup set up in a local church. Once prepped, the crew took to the streets of New York, where they executed intricate choreography against an urban backdrop.

“It was an exhilarating experience,” Peck reminisced about the day. “We started filming around 6:00 a.m. and managed to wrap up by 11:00 a.m.” Rodrigo expressed a preference for the dancers to wear pink tutus, which initially appeared too simplistic. Fortunately, the New York City Ballet’s costume department stepped in to create bespoke dyed versions that added elegance to their aesthetic.

Another unique takeaway from the project was the condition of the dancers’ pointe shoes, which bore the marks of the asphalt they danced upon. Peck laughed at the sight, thinking it was a memorable memento from the day’s shoot. “We should keep these,” she said, relishing in the shared experience among the dancers.

Ultimately, for Peck, the making of “Stupid Song” felt like a return to her roots, allowing her to merge her love of ballet and pop music. “I felt as though I could connect these two worlds,” she remarked proudly. Additionally, she viewed the video as a means to make ballet more accessible to a wider audience, bringing the beauty of the art form to those who may not have the opportunity to experience it in person. “This video has the potential to reach more people, and I am incredibly proud to share real ballerinas in this context,” she stated.