As a seasoned movie critic with a penchant for fantastical films that transport audiences to magical realms, I must say Nathan Crowley’s work on “Wicked” has left me enchanted and captivated. His ability to breathe life into the timeless and magical world of Shiz University is nothing short of extraordinary.
Nathan Crowley, a production designer, has longed throughout his professional journey to construct an entire fantastical realm. He discovered this opportunity with the movie “Wicked”.
When director Jon M. Chu asked him to contribute to “Wicked” for its movie adaptation based on the popular Broadway musical, Crowley’s long-cherished dream finally materialized. “Jon envisioned it as a fantastical realm,” Crowley explained. “He saw it as a place filled with joy and happiness. In his vision, the Emerald City was an enchanting myth, a destination everyone aspired to visit.
Shiz University serves as the center of most activities. Similar to institutions such as Oxford, Cambridge, Ivy League universities, and even Hogwarts, Shiz is an old institution, one that only a select few have the chance to attend. For Crowley, it needed to exude a sense of timelessness and magic. “I had to create a fresh aesthetic that goes beyond just dark stone,” says Crowley.
Another difficulty Crowley faced was figuring out the solution to this question: how does one travel to Shiz? He clarified that traveling by train is not an option since it’s advanced technology owned by the wizard. Furthermore, balloon travel and car travel are also unavailable as there are no balloons and cars existent in this place.
The solution? The ancient tradition of water. Water was also a factor in the Wicked Witch of the West’s story — remember, “I’m melting!” — so it was fitting.
Crowley constructed the canal system with large tanks and an impressive entranceway that led towards Shiz. Boats, crafted in Prague, were transported to Britain for the shooting of the movie.
Building Grand Shiz encompassed structures like the water tower, docking areas, and the university entrance. Shiz employed various materials such as stone and wood, blending architectural styles, with Shiz’s courtyard showcasing a tribute to American architecture. “The large arch is reminiscent of an American fairy tale,” he said, “I drew inspiration from the ‘White City of Chicago.’
The exterior scenes harmoniously blended with indoor sets built in studios. For instance, the dorm room was designed to convey a sense of coziness while still offering ample room for a dance sequence. The area should be visually engaging, considering Glinda’s preference for privacy and not wanting to share her space.
The domes within the room were modeled after the Brighton Pavilion, a historic structure located in Southern England, which served as a royal residence during the Georgian era and boasted tall windows. Crowley added to the room’s charm with a coat of wood varnish and intricate murals that some might find overly elaborate. “You may not notice it due to your fascination with the overall ambiance.
Additionally, specialized teams for special effects and set design arrived to fill the space with a multitude of hat boxes and shoeboxes that popped open. “Beneath the surface lies a vast network of machinery,” notes Crowley.
In the scene where Glinda dances down the hall at the end of “Popular,” there was no pre-planned set. Instead, they constructed that particular hallway themselves. To put it simply, “At the end, Glinda runs along the hallway, and it’s a truly captivating moment.
Despite its seemingly straightforward nature, Crowley recognized that ‘Popular’ was a complex dance number with numerous movements. Thus, he collaborated closely with the film’s choreographer, Christopher Scott, to design the stage layout. They considered the space, action, and storytelling within the song, and planned what would unfold in this limited area.
Shiz Library stood as another triumph for Crowley, offering an expansive area for students. Its unique feature included revolving bookshelves that smoothly transitioned and towering wooden archways.
The stage played a crucial role in introducing Fiyero (Jonathan Bailey). “He’s meant to be the epitome of cool, adored by all. We’re going to dance our way through life with him, and he’s expected to captivate everyone, so we need to provide a setting that matches his charisma.
Crowley pondered on the idea of ‘The Royal Wedding’ and Fred Astaire moving gracefully within a revolving space. “I envision Fiyero performing there,” he mused.
Instead of constructing a full-sized prototype, he created a miniature replica with unique visual elements to convey his idea. He initially thought it wouldn’t be accepted, but Jon found it appealing. Excitedly, he asked, “If each item spins independently and the character is dancing and twirling, then why can’t the Oz bookshelves be circular?
In simpler terms, Crowley notes that when ladders align due to their independent rotation, it results in forming the shapes of ‘O’ and ‘Z’.
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2024-11-25 03:17