5 Secrets About ‘The Wizard of Oz at Sphere’: How AI Is Bringing Dorothy and the Yellow Brick Road to the World’s Biggest, Most Immersive Screen

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This summer, I’m all set to stroll along the Yellow Brick Road, just like old times with my trusted companion Toto, but this time it won’t be in Kansas anymore! Instead, we’ll be treading the same boards as stars like Phish and Backstreet Boys have done, in that state-of-the-art Las Vegas arena. Guess where? The Sphere is where “The Wizard of Oz,” a classic Hollywood film dear to our hearts, will be making its appearance!

I was part of an extraordinary team that revamped a timeless cinema masterpiece for a colossal LED screen with wraparound interior 16K resolution. This task demanded more than a dozen visual effects studios, teams of dedicated researchers and archivists, and Jane Rosenthal herself – the illustrious producer known for her work on “The Irishman” and “Meet the Parents.

For this week’s feature article on EbMaster, Rosenthal provided an exclusive sneak peek at the enigmatic venture in anticipation of “The Wizard of Oz at Sphere‘s” grand opening on August 28th.

1.) Yes, It Uses AI

In contrast to the 1939 “The Wizard of Oz,” which was designed for a tiny television screen, the upcoming film is being displayed on Sphere’s massive 160,000-foot screen. Consequently, the creators have chosen to enhance and expand all visuals, utilizing AI technology to generate additional characters and scenery that were absent in the original footage to effectively fill such a vast expanse.

In that initial scene where Dorothy is running along the road towards Gale’s farm, Rosenthal points out, not only do we get a sense of the entire surrounding landscape and the house’s location, but also the full extent of Professor Marvel’s caravan. At first glance, we only catch a glimpse of it, but if you take a broader view, there’s an array of peculiar items inside like skulls and other oddities from his magic act.

Instead, Rosenthal and her colleagues embarked on an archaeological expedition that led them through various settings such as backlots, museums, and studio archives.

Rosenthal explained that they retrieved the initial shot list created by the cameraman, thoroughly reviewed all the sketches made by the production designer, and examined various props stored at both the Warner Brothers archive and the Academy archive.

The outcome presents a city resembling Emerald, a land of Munchkins, and a castle of the Wicked Witch, which could have been brought to life by the initial creators, given they had a larger stage to work with.

2.) But It Uses AI “Ethically”

As a part of Hollywood’s creative fraternity, I understand the concern about AI being an existential threat. However, following Rosenthal’s perspective, we must strive to collaborate with this revolutionary technology while adhering to ethical standards. In our project titled “The Wizard of Oz at Sphere”, we chose to train the AI solely on characters and imagery from the original film, and nothing else. This was done with Warner Bros., the studio that owns the rights to the original film, fully involved in the process.

“Anytime we made a change, we talked to them,” Rosenthal says.

3.) It Takes Less Time to Reach the Wizard!

The film ‘The Wizard of Oz’ is 102 minutes long, but the version playing in Las Vegas will move faster due to a quicker pace. According to Rosenthal, this shorter runtime also applies to its television broadcasts because commercial breaks were required.

Instead of re-adding cut scenes, Rosenthal chose to stay faithful to the original, as she stated, “There’s nothing here that wasn’t already part of it.

They incorporated some engaging aspects, but Rosenthal merely gives a few subtle clues about the unique qualities of this version of Oz. “This movie includes ruby slippers,” she playfully hints.

Get ready to click those heels!

4.) They’re Still Debating About Fixing the Lion’s Mane

The art of filmmaking has significantly evolved over the past 85 years, as shown by the contrast between “The Wizard of Oz” and contemporary productions. The advancements in special effects, makeup, and computer-generated imagery (CGI) have made it possible to create more realistic scenes, and editing errors can now be corrected with greater ease. Moreover, due to the fact that four directors – King Vidor, George Cukor, Victor Fleming, and Richard Thorpe – were involved at various stages during its chaotic production, some inconsistencies are evident in the final product.

Rosenthal notes that viewing this film in high definition reveals intriguing details. Unlike today’s productions, they didn’t have our current level of continuity control. For instance, the way makeup was applied is noticeable, such as the attachment of the Lion’s mane. Should these aspects be altered or left untouched?

It’s still not clear which direction the Sphere team will lean.

Rosenthal states, ‘We’re still discussing whether to make changes or keep certain scenes as they are, reminiscent of the charming aspects found in ‘The Wizard of Oz.'”

Or

“According to Rosenthal, we’re currently deciding if we should alter some shots or leave them untouched, mimicking the quaint characteristics similar to those seen in ‘The Wizard of Oz’.

5.) More Classic Movies Could Be Heading to Sin City

Should “The Wizard of Oz” prove successful, it’s likely that Rosenthal anticipates more timeless films being revamped for the Sphere.

According to Rosenthal, this is our blueprint within our field. It doesn’t mirror Marty Scorsese’s Film Society restoration process, but it allows us to revisit films from the perspective of their directors and the era they were created in. We aim to work on more films in the future, though we’re unsure which ones yet.

She hasn’t specified yet whether her list will feature classics such as “Casablanca” and “The Godfather,” or modern blockbusters like “Star Wars” and “The Avengers.” Regardless, it’s clear she has firm convictions about what makes a movie successful or not.

Rosenthal suggests avoiding films that are common or generic, like “Harry Potter,” and instead recommends choosing those that offer an immersive experience appealing to a broad range of audiences.

In other words, something the whole family will enjoy.

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2025-05-28 18:48