Pluribus: The Official Podcast

Episode: S1E1 Bonus – Nito Larioza
Date: November 13, 2025
Host: Chris McCaleb
Guest: Nito Larioza (Movement Choreographer)

Episode Overview

This bonus episode of the Pluribus Official Podcast features a one-on-one conversation between host/editor Chris McCaleb and movement choreographer Nito Larioza. The discussion offers an in-depth, behind-the-scenes look at the uniquely challenging and creative process of designing and coaching the physical movement for the hit Apple TV series "Pluribus." Nito shares how he joined the production, his first impressions of the show’s scripts, the audition and rehearsal process, and how movement shapes the show’s mysterious tone—especially in standout scenes like the "petri dishes." The interview is rich with insight on building trust, encouraging creativity, and collaborating with both seasoned actors and unusual performers.

Key Discussion Points and Insights

Getting Involved with "Pluribus"

• Nito’s Recruitment

  • Received a call from producers after being recommended through his work as a stunt coordinator and choreographer. He was intrigued but had little info at first.
  • "They said that. I heard you can do multiple things. We wanted to see if you're interested. It really didn't tell me anything about the script or the story yet." (Nito, 00:58)

• Early Creative Meetings with Vince Gilligan

  • Connected primarily with producers and then later met Vince in New Mexico.
  • Stressed the importance of honesty and a lens-first approach in movement design.
  • "If there's something I don't like, Vince, I'm gonna tell you. And he goes, no, I want you to do that, but if I don't like it too, Nito, I'm gonna tell you."
    • (Nito recounting his conversation with Vince Gilligan, 02:03)
  • Emphasized that movement live vs. on camera can look very different.

The Choreography Process

• Script Impressions & Workshopping

  • Nito was surprised by the script’s heavy volume of action and unique movement.
  • "When I read the script, I was like, damn, there's a lot of action in this... This is more than stunts. This is crazy. This is a lot of work."
    • (Nito, 04:14)
  • Workshopped all scenes for episode one in LA, filming and sending previsualizations to producers for iterative feedback.

• Audition and Casting

  • Looked for range: dancers, yoga practitioners, athletes, people with a sense of direction. Sought genuine diversity—“not a look thing.”
  • "They wanted diversity from the board. They didn't have to be 6ft tall or anything like that. If he was black, Latino, Native American, Filipino, they loved everything. And I thought that was great."
    • (Nito, 07:39)
  • Also included performers with disabilities (e.g., people in wheelchairs).

• Rehearsal Approach

  • Relaxed, dance-inspired exercises: warmups with music, yoga breathing, old-school popping, and movement drills.
  • "I'm a dancer, so I kind of like that dancer structure as far as warming up to music just to cut loose and make everybody feel comfortable."
    • (Nito, 08:18)
  • Incorporated competitive and communal spirit; encouraged individual movement to inspire peers.

Adapting Movement for the Show's Tone

• Designing 'The Others' and 'Petri Dishes' Movement

  • Experimented with methods until the right blend was found—for both eerie, synchronized and subtle, realistic gestures.
  • Petri dish scene required special attention due to unique casting and need for unison.
  • "I needed to make sure that whoever they picked that they could still take direction, they can still move to count and to a certain rhythm."
    • (Nito, 13:18)

• Iterative Feedback with Vince Gilligan

  • Vince wanted the petri dish actors to push even further, making the movement more "in there" and lively.

• Impact on Show's Tone

  • The movement of the "petri dishes" became a defining element, shaping the show's weird, unsettling, and occasionally comedic tone.
  • "That scene kind of set the tone for the show for me... I never seen anything like that on film or TV before."
    • (Nito, 14:52)

Challenges and Rewards

• Managing Large Groups

  • The sheer volume of specialty performers was challenging, especially large scenes like the hospital.
  • "When you got to work with a lot of them, that can take a toll. But I think the great thing was that they respected me and they believed in it, and they love what they saw because it was something unique and different."
    • (Nito, 15:50)

• Inspiring Performers

  • Nito’s choreography introduced some performers to new aspects of acting and movement, opening doors for them creatively.

Working with Lead Actors

• Coaching Miriam Shore (Helen) & Other Actors
  • Treated lead actors with the same rehearsal rigor, using drills to ensure on-camera precision without overexertion.
  • Provided specific feedback based on camera angles to help actors focus energy effectively.
  • "When it's a close up and it's all on their face, I tell them, you got to give it to me, you got to sell it… Not too hard, not too soft, but just enough where it's like strong and it's believable."
    • (Nito, 18:10)

Notable Quotes & Memorable Moments

• Honest Collaboration with Vince Gilligan:
  "If there's something I don't like, Vince, I'm gonna tell you... I'd rather be straight up with you and not tell you. Oh, yeah, it's awesome and it looks horrible." (Nito, 02:04)

• Audition Philosophy:
  "If you can't take direction, you out." (Nito, 07:13)

• Embracing Diversity:
  "They wanted diversity from the board... even people in wheelchairs. I wanted to make sure we could use them." (Nito, 07:41)

• Movement as Inspiration:
  "I think once everybody did the movement and the shaking and the twitching and the eyes and the falling and all this, people would be like, oh, you know what? I like what he did... That kind of inspires people. And I feel that made people perform better." (Nito, 10:26)

• Pride in Originality:
  "When I saw the final cut of it, it looks so cool. I was like, wow, I never seen anything like that on film or TV before. And to me, when you do stuff like that, it's awesome." (Nito, 14:53)

• Opening New Doors:
  "You made me look at another avenue to pursue acting or to try something new. And I think when I hear stuff like that from the performers, I think it's beautiful." (Nito, 16:17)

• Guidance for Actors in Movement:
  "You don't have to do anything. This one, you gotta sell it... You got to give it to me, you got to sell it." (Nito, 18:09)

Key Timestamps

• 01:28 – First creative meetings and developing a working rapport with Vince and producers
• 04:07 – Initial reactions to the script and realization of the movement/choreography challenge ahead
• 07:31 – Casting process and embracing diversity in performers
• 08:18 – Unique rehearsal approach blending dance, music, and movement confidence-building
• 11:27 – Breaking down the specifics for the 'others' and 'petri dishes' scenes
• 13:09 – Challenges of working with actors cast for acting, not movement skills
• 14:50 – Setting the tone for the series with movement in the petri dish scene
• 15:37 – Most surprising/challenging aspects: coaching and motivating large groups
• 16:50 – Working with lead actors, particularly Miriam Shore (Helen)
• 18:24 – Coaching for camera-specific performance

Conclusion

This episode gives a vibrant, detailed look at how movement is more than a background detail—it’s a vital storytelling tool and atmosphere-shaper for "Pluribus." Nito Larioza’s openness, creativity, and supportive coaching fostered standout performances and even helped some cast members discover new aspects of their craft. His discussion with Chris McCaleb is an inspiring testament to behind-the-scenes artistry and the teamwork behind making TV feel fresh and truly original.