Since Dallas really only wears variations on the theme of a vest and leather pants in the film, costume designer Peterson wanted to make his strip feel special which is why he suggested McConaughey tear away the back pockets of his pants first (which makes it look like he's wearing assless chaps) before popping the pants off in their entirety. Then, of course, there was the thong. ''Matthew didn't want to wear, nor did I want him to wear, just a spandex thong. There was a rock 'n' roll Western feel to his clothing, and he kept talking about this specific coloring that a certain horse has. It just started occurring to me that maybe we were talking about a horse mane and fringe. He liked that idea,'' Peterson says.
Fringe placement was another discussion. ''I started placing it at different places on the thong, and Matthew said, 'Right down the center,''' Peterson says. ''Initially, the fringe was a little out of control. It was like a horse's mane. We trimmed it back and trimmed it back. When those pants came off and the silver and black patent fringe started catching the light, the reaction was IN-SANE.'' Did we notice fringe in the back of the thong as well? ''There was definitely a tail there,'' Peterson deadpans. ''Matthew was out to outdo all the other boys. I don't know that he succeeded necessarily, but he certainly committed something incredibly memorable to film for all time.''
As for the actual moves for the number, McConaughey had ideas for those, too. ''He was so in it to be gross and raunchy,'' says choreographer Faulk. He came up with signature moves, like the ''Lick It and Slick It'' (he licks his fingers and slides them down his pants). ''He was the one who had the most names for things, because we would call them out,'' Faulk says. ''I've never laughed as hard as I laughed watching him perform, only because it was so f---ing amazing. The women did not know what to do with themselves. The last thing he does in his routine is lie on the ground, and the girls were insane trying to tip him, shoving money in his G-string, and his G-string ripped off. He held it on with his hand. Nothing will beat that to me.''
Choreographer Alison Faulk, costume designer Christopher Peterson, and music supervisor Frankie Pine reveal inside stories behind the movie's eye-opening dance numbers