Tom Hiddleston’s Epic Dance in The Life of Chuck: How He Learned to Move Like Gene Kelly

In the Stephen King adaptation The Life of Chuck, one scene stands out as the emotional and artistic centerpiece: an epic dance sequence featuring Tom Hiddleston and Annalise Basso. This moment of pure joy and release is far from a simple dance number—it’s a transformative expression of character and story, carefully crafted with the help of renowned choreographer Mandy Moore.

Moore, a sought-after choreographer behind major events like the Oscars and Taylor Swift’s Eras tour, is especially passionate about teaching dance to actors who aren’t professional dancers. “I really love teaching people where dance isn’t their first thing,” she explains. “It’s about teaching them to love dance first.”

When director Mike Flanagan and producer Trevor Macy approached Moore about choreographing The Life of Chuck—a story not traditionally associated with dance—she was initially intrigued, if puzzled. “As soon as I heard it was a Stephen King story, I was like, ‘Wait, what this?’” Moore recalls. But after reading the script, she was hooked by the way dance was woven organically into the characters’ lives, particularly Chuck, who finds freedom and joy through movement.

In the film, Chuck appears at different ages, played by multiple actors, including Hiddleston as the adult version. His connection to dance stems from childhood, inspired by classic musicals and iconic figures like Gene Kelly. Moore’s challenge was to translate this inspiration into an unforgettable dance that feels authentic and narratively meaningful.

The logistics of teaching the intricate routine to Hiddleston, who was in London during much of the preparation, posed unique challenges. “Tom was never going to be with me,” Moore says. To overcome this, her London-based associate Stephanie Powell worked closely with Hiddleston, learning and teaching him the dance phrases Moore created. “I’d send them video recordings of different styles—cha-cha, salsa, swing, MGM-Gene Kelly—phrases to capture the feel of freedom and expression.”

Meanwhile, Annalise Basso rehearsed in Los Angeles, creating a complex relay of choreography across continents through video exchanges. A key collaborator was drummer Taylor Gordon, who plays a busker in the film. Gordon’s live rhythms helped evolve the soundtrack organically, synchronizing music and movement to elevate the scene’s energy.

Moore also crafted a clever narrative device by echoing the adult Chuck’s dance moves in the school-age versions of the character, helping to unify the story visually and thematically.

Reflecting on the process, Moore says, “Everyone can dance—I do feel that.” Her work with Hiddleston and the cast highlights how dance can be more than performance; it can be a language of emotion and identity.

Thanks to Moore’s expert guidance and Hiddleston’s commitment, the The Life of Chuck’s dance scene isn’t just a moment to watch—it’s a moment to feel, capturing the spirit of a character finding joy in movement much like the legendary Gene Kelly himself.