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New College, Oxford University, 1979 — this is area we aboriginal accommodated a adolescent Donna (Lily James), the appearance originally played by Meryl Streep in 2008’s Mamma Mia! In the new film Mamma Mia! Actuality We Go Again, Donna strides bottomward the alley of her graduation commemoration in gold belvedere boots, strips off her graduation robe, and launches into a angrily fun arrangement of “When I Kissed the Teacher” that spills out into the streets of Oxford.
The cardinal is a colorful, alive way to bang off a aftereffect that was 10 years in the authoritative (an abstraction ambassador Judy Craymer says was “always in the hemisphere”). Here We Go Again flits aback and alternating amid the past, area we chase a adolescent Donna (and the Dynamos, Tanya and Rosie) as she meets (and hooks up with) all three of Sophie’s abeyant fathers, and the present day, area Sophie (Amanda Seyfried) tries to account her mother’s bequest by aperture a auberge while adverse her own pregnancy.
Not alone does “When I Kissed the Teacher” accessible the film, it additionally apparent the alpha of cutting for the sequel. “I anticipation if we aloof went for it and if we nailed it, it would set the accent for what we were activity to do from afresh on,” administrator Ol Parker tells EW.
“We were like, ‘How exciting, we get to advance these relationships as Dynamos and anatomy this band of acquaintance through our call process,’” adds Jessica Keenan Wynn, who plays adolescent Tanya in the film. “Then on day one back we arrived, it was aloof the best massive undertaking. There were hundreds of account and ensemble ball members, three altered cameras advancing in at you, and afresh we had to re-block it.… It was a huge endeavor, but actuality befuddled into the abysmal end is the best way to alpha the able process, because it was absolutely an accessible ride afterwards that.”
Below, the film’s casting and aggregation associates discharge the capacity on the accurate planning, ingenuity, and disco abracadabra it takes to accompany this ABBA song to activity on the big screen.
We accommodated adolescent Donna at Oxford in 1979, as she turns her graduation into a concert.
OL PARKER (director): I capital to appearance adolescent Donna as iconoclastic, able to blast conventions and be a bedrock chick. The funniest affair would be to put her in the stuffiest accessible surrounding and afresh accept her agitate that up.… [The song] was originally “Super Trouper,” so back they sing it in the aboriginal movie, it’s like a callback to their youth.
JUDY CRAYMER (producer): I went to Sweden to accommodated with [songwriters] Benny [Andersson] and Björn [Ulvaeus]. It was the aforementioned bureaucracy at Oxford, and Bjorn went, “What about ‘When I Kissed the Teacher’?” There’s a faculty of irony and wit in the lyrics, and it’s such a high-energy number, that was it. That’s how it begin its amplitude as the aboriginal song.
PARKER: I [wanted] the aboriginal clue to be article new. There are so abounding added ablaze songs in the ABBA canon, I capital to authorize from the alpha we weren’t aloof activity to epitomize all the greatest hits. [“Super Trouper”] didn’t assume to advertise the aftereffect as a sequel; it seemed like a adjust rather than a sequel.
CRAYMER: That moment had to set up so abounding elements — she was abrogation university, her accord with Tanya and Rosie, the actuality she was hardly anarchic and a bit of a babe — and this song did it. We afflicted the lyrics slightly. Because in the song accounting by ABBA in the ’70s, it was acutely a macho teacher, and the carnality adjudicator is a woman, played by Celia Imre, which we anticipation was allotment of Mamma Mia, the able alloy of empowerment and fun.
PARKER: Sometimes you accept to the lyrics and that will behest area you put it, to a degree, and you’re aggravating to address appear it, as it were. And some songs you address yourself into a abode and you go, “Now what song would fit there?” In this case, that was “When I Kissed the Teacher.” You can accept her kissing Celia Imre, which is consistently a pleasure, but additionally it’s a banging track.
ANTHONY VAN LAAST (choreographer): I didn’t appetite to accomplish it cute, because Donna is a able woman. I capital to accord it a absolute backbone of movement and appearance article a little bit anarchic with the three girls [as] a unit.
ROBERT D. YEOMAN (cinematographer): It was attempt at Oxford at [New College]. It had actual aphotic copse and an old English activity to it. We capital to accord it some life, so we put big lights alfresco the decrepit canteen windows and shined them through to accord the feel of the administration of sunlight advancing through.
PARKER: That was the best fabulously affected abode we could find. In a acceptable way. Fabulously abstruse and impressive. It was all the funnier for Lily to rip off her apparel and go for it.
JESSICA KEENAN WYNN (young Tanya): I acquainted like English royalty. I acquainted like I was a bedfellow in someone’s castle. To be in a abode of so abundant acumen and history was aberrant and an honor.
YEOMAN: We capital to accord it a assertive bulk of energy.… It wasn’t a proscenium affectionate of affair area you aloof lock the camera bottomward and let them do their thing. We capital to be actual alive with the camera and move actual quickly, because they’re affective about actual quickly. Aggravating to chase the activity and accumulate the activity activity as abundant as possible.
CRAYMER: [It] was ambience the accent for those women and area they were activity to go. Oxford could acquiesce Ol to accompany all that into that song.
Donna, Tanya, and Rosie (Alexa Davies) band off their graduation apparel to acknowledge their Donna and the Dynamos getups, including belvedere boots and bell-bottoms.
WYNN: You feel tall, regal, and defended because the boots were custom-built for us. Already we got them in rehearsal, we acquainted like we assuredly accepted what the Dynamos were.
CRAYMER: Those apparel are, in theory, cut out of the curtains of their rooms. That’s how they would’ve fabricated their fun clothes. They would accept cut being out of the daybed and ashore them on their jeans. The calamus boa is meant to be a bit of a furry rug they’ve broken up and put about their necks.
WYNN: The little elements of accepting brilliant patches on the boots and throughout our costumes, I anticipation that was a nice nod to about a David Bowie aspect we took into it. In the abode room, Tanya has a massive affiche of David Bowie. If you attending abutting enough, you can see our curtains, in the bend — they’ve all been cut up, which is a admirable little addition.
As the cardinal gets going, the advisers abaft Donna get kissed and accompany the dance.
CRAYMER: That’s ABBA’s Bjorn [Ulvaeus] as one of the professors. The row abaft in the red apparel are all aloft Mamma Mia date actors. There’s some of the aboriginal cast, and casting over the aftermost 20 years.
VAN LAAST: It was like a huge reunion. The abundant affair about Mamma Mia is we’re like a family. They came with abundant spirit and [were] awfully supportive. It was the aboriginal affair we filmed.
CRAYMER: They sat there actual patiently for three days. It additionally gave Ol article extra-special. Because it wasn’t a aloof army scene. They are already able actors that were absolutely blessed to do this because they were in Mamma Mia and allotment of the alumni.
PARKER: Bjorn was baffled by how continued it all took and how arid it was.… There was article annoying to me about accepting a celebrity adornment aural the aboriginal three account of the film. But it aloof seemed the appropriate abode for him, and he was actual funny. We attempt outtakes of him dancing on date with the calamus boa.
WYNN: There was so abundant electricity in the allowance — to alpha off accepting these aloft castmates there to advance us into the sequel. It was about like a billy pass. It was a abundance to be in their attendance and to accomplish for bodies that accept been complex with this agreeable from its incarnation.
Donna and the Dynamos bound into the admirers and crowd-surf in an aerial shot.
PARKER: The video for “Drive,” by R.E.M., has a top attempt of Michael Stipe rolling about on the accoutrements of the crowd. He’s captivated aloft aloft them. It’s black-and-white and abundant added arty. I beatific that to [Anthony] going, “Anything here?” and he was like, “The three of them could do it.”
VAN LAAST: It was highly, awful choreographed for safety. Unlike absolute crowd-surfing, area the bodies are confused about by the crowd, the catchers beneath did the move and all the bodies on the alfresco backward still. Beneath anniversary person, we had about 5 bodies who were the pivots to move them. If you’re attractive at the film, you’d never apperceive that.
WYNN: In the call process, they absolutely catered to my aspect of Tanya and gave me the cutest boys to abatement into.
YEOMAN: That [overhead shot] was off a crane we brought in and put up as aerial as we could go. Afresh they amidst [the achievement people] with dancers to ample the anatomy and accomplish it an admiration to Busby Berkeley.
PARKER: That was booty one. We accepted it to be actual difficult — they’re aggravating to about-face them absolutely in rhythm, and that’s not easy. We hadn’t got it appropriate already until the aboriginal booty of the movie.
VAN LAAST: I looked bottomward and the three girls confused in absolute sync, and it was like, “Oh, God, that’s really, absolutely good.”
WYNN: On the day of, those ensemble associates were key to the success of that shot. We didn’t accept to do it too abounding times; I anticipate afterwards three or four times they had the absolute attempt from up aloft of us twirling around. How can you not feel like the ultimate superstar?
They access from the anteroom and aeon into the Oxfordshire countryside.
PARKER: You appetite to get from one abode to addition and I anticipation about active in cars, but that seemed a bit fanciful. My capital anamnesis of university was benumbed bottomward country lanes with a canteen of article in my hand.
VAN LAAST: That wasn’t in the aboriginal script. All the acceptance in Oxford ride about on bicycles, so we should address that in the number.
CRAYMER: There was a date at Shepperton area they were call with bicycles and the date and everything. It was appealing amazing back we absolutely got to the location.
YEOMAN: We had a camera car with a baby Technocrane and a batten arch on it. It’s a little uncontrollable, but it gave it a faculty of spontaneity. We aloof begin a little lane out in the countryside there that was actual beautiful. I couldn’t absolutely ablaze them, so we backlit them and aloof had them riding.
VAN LAAST: They were accomplished by achievement people, and afresh we best the best cyclists and alloyed [them] in amidst our cast. That was how we kept it together.
WYNN: We were call it and I ashore my legs out, like a advanced additional position, and [Parker] was like, “You charge to do that now, every time.” That’s alleged back Jessica Keenan Wynn is accepting too abundant fun and the administrator ends up putting it in.
PARKER: The bit you can’t see is a absolutely abrupt hill, so back they appear about the bend they’re all absolutely exhausted, but they accept to pretend that they’re not and accept affluence of lungs larboard to sing a song.
The cardinal concludes with the Dynamos dancing on top of a barge afore catastrophe with a freeze-frame jump into the Cherwell River.
PARKER: The girls were aloof activity to ball by the lake. We were activity to actualize a pub garden and the girls would get on a table, and the others would be dancing about them. [While scouting], we were continuing by the lake, and 100 yards bottomward the river there was a barge. There was no one there, so I jumped on, stood on the roof and was like, “This would be air-conditioned to ball on.”
VAN LAAST: The aboriginal time we got on the boat, it was absolutely rocky. The baiter had to be absolutely reconfigured. Because back you’re cutting platforms, you can’t absolutely feel area your anxiety are. We had defined go bottomward and block the baiter properly.
WYNN: We’d been practicing on a actual aerial board belvedere for a while. Already you get on a boat, you see all the elements about you: That’s adamantine grass, those are flowerpots, that’s water. We had to accomplish abiding we were actual in tune with anniversary added and with our surroundings.
PARKER: They had a blast pad. Realistically they would’ve jumped in [the water], but if they do jump in we can’t shoot afresh for addition hour [because] Lily’s beard is a production, the clothes [have to dry].
WYNN: There’s things you don’t anticipate about back you’re jumping off a barge on to a platform, like accumulate your arch up and smile, don’t attending like you’re in pain, don’t attending like you’re activity to die.
PARKER: [In the aboriginal film], they went in the baptize in “Dancing Queen.” They all did that jump, so I had this abstraction to do a freeze-frame. Lily is accomplishing the bomb, which is a accolade to what Meryl does in “Dancing Queen” in Mamma Mia. It aloof seemed admirable that the two girls on either ancillary would do a brilliant jump and Lily would do the Meryl bomb. It’s a callback.
WYNN: It’s one of my admired moments of the movie, that freeze-frame of the three of us jumping into what’s abutting in our lives.
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