As a die-hard fan of musicals and someone who has grown up with “Wicked” as a beloved tale, I am beyond thrilled to witness the breathtaking transformation of this timeless story onto the big screen. The collaboration between Jon M. Chu, Ariana Grande, Cynthia Erivo, and the entire team behind “Wicked” has been nothing short of magical.
The craftspeople remained impartial, showing equal affection for both, yet the blossoming rivalry-turned-camaraderie between the two young witches served as the guiding principle for the filmmaker when creating the film.
Brooks remembered her initial chats with director Jon M. Chu during the completion of “In the Heights” in 2021, when he mentioned his plans to work on “Wicked”. As they delved into the film’s themes, aesthetics, and dialogue, Chu enquired about her aspirations for the movie. Brooks responded, “I hoped it would be a breathtakingly beautiful love story between these two women, who were also best friends.
Prior to “The Wizard of Oz,” the musical “Wicked” delves into the backstory of characters like Glinda (portrayed by Ariana Grande) and Elphaba (Cynthia Erivo). This tale reveals how the Scarecrow, Tin Man, Cowardly Lion, and other Ozians who encounter Dorothy came to be. The musical, which premiered on Broadway in 2003 and is adapted from the 1995 novel by Gregory Maguire, runs for approximately 2 hours and 45 minutes (with a 15-minute intermission). For the two-part film adaptation, Kerstein had over 250 hours of footage to sift through and edit.
As a movie enthusiast, I found myself grappling with the task of shaping that intricate bond between Glinda and Elphaba. My discussions with Chu were centered around the ebb and flow of their relationship dynamic – from adversaries to roommates, friends, and ultimately, a tale filled with drama. In just half an hour, we had two enemies transformed into roommates, then friends, setting the stage for a whirlwind of events.
Building a strong bond between them proved difficult for Kerstein, she confided. “It’s essential that we grow fond of their personalities individually, and then appreciate their unique friendship. This isn’t something that can easily be achieved swiftly or without deep involvement. And then, to add drama that ultimately separates them, that’s a tough balance to strike.
At SCAD, the crowd got to witness a sneak peek of two songs from the movie: “What is this Feeling?” featuring Glinda and Elphaba showing their deep-seated dislike for each other, and “Dancing Through Life,” where Jonathan Bailey’s captivating character Fiyero steals the show by performing.
Fiyero’s riding boots recently caught the internet’s interest when Bailey revealed that he has a photo wearing only the boots after a mishap with his luggage. Asked about his approach to their design, Tazewell explained that he wanted to align Fiyero’s look with an “iconic, heroic and princely demeanor.” He said, “Underscoring that in his riding boots was important and finding a shape that spoke to that.”
Tazewell explained that he fashioned the movie’s costumes to underscore each character’s humanity, making it simpler for viewers to connect with them. He started by setting guidelines for how the residents of the magical land of Oz perceived themselves, considering various regions and tribes while maintaining a consistent academic atmosphere. As he put it, “There was a lot of blending together diverse visual elements. Some were inspired by nature, focusing on the recurrence of spirals.
Apart from the movie, Tazewell considered it an exciting prospect to extend the musical’s wardrobe concept. He explained, “I got to create a complete outfit collection for these young actresses – you can observe their pajamas, Shiz University uniforms, and various adaptations of their school attire throughout their daily life at college.” Each costume was crucial in portraying the unique personality of the characters, be it Glinda or Elphaba. It was a delightful challenge to work on this aspect when we examine the costumes for these iconic characters.
The film’s visual narrative was significantly influenced by nature as well. In a conversation with EbMaster, Tazewell shared that the structure of mushroom gills served as inspiration for Elphaba’s witch costume. His intention was to design a look that was rooted in natural elements and offered a contrast to her supernatural abilities. As he put it, “It seemed fitting and how I wanted to portray her. She is an advocate for animals, and since she often feels marginalized, she finds comfort in nature rather than among the people around her.
In much the same vein, Brooks based her lighting around the sun. “I envisioned that the sun would forever rise for Glinda and set for Elphaba,” Brooks shared. “One of the topics we discussed was that light is not always good and darkness is not always evil. Good is not always good and evil is not always evil. So, how could we pay homage to a theatrical production while still making it unique to us?
For instance, Brooks illuminated the “Popular” performance led by Glinda as a single sunrise sequence throughout the movie. However, it’s Elphaba’s character development that largely steers the third act. Brooks described the final 40 minutes of the film as a prolonged sunset, commencing with “Wizomania” and culminating at the end of “Defying Gravity.
As suggested by the craftspeople, Chu envisioned Oz in the film to be everlasting, reminiscent of classic Old Hollywood. This is reflected in the elaborate staging and filming of “Wicked” on 17 sets and four backlots, two of which were as large as four American football fields. As Brooks explained, a significant part of their aim was to capture as much as possible on camera during the production of what could be one of the greatest love stories ever told. Kerstein further stated that they were creating “The Lord of the Rings” meets “The Wizard of Oz”.
When asked about their favorite scenes, both Brooks and Kerstein pointed to the Ozdust Ballroom scene as particularly memorable. Brooks referred to it as “the core of the film.” She elaborated: “This is the moment these women first lay eyes on each other. It’s where they fall in love for the first time.
The scene at Ozdust Ballroom is featured in “Dancing Through Life.” It’s a place within Shiz University where animals who previously lived in fear of being silenced can express themselves freely, including playing in bands. Notably, it’s also frequented by the students of Shiz University. Fiyero guides us to this point in the story. At the same time, Glinda invites Elphaba to attend the gathering and provides her with a black, pointed hat to wear.
In the movie production, I found myself grappling with a particularly challenging lighting scenario since the set was enclosed by transparent resin walls. Moreover, Chu opted for 65 mm lenses to capture close-ups of Elphaba, ensuring that each take lasted an extended 10 minutes. As he explained, “He wants her to have ample time to embody and express that scene’s emotion, and for the audience to witness her performance intimately.” One of the recurring visual motifs in the film is ‘the sensation of being observed.’ Consequently, during the scenes where Elphaba descends the stairs, we aimed to convey the feeling of everyone around her laughing at her.
Kerstein found the footage “petrifying” to assemble, confessing that each take left him in tears. He pondered, “How do you begin crafting something that seems like every frame is enchanted? I question if I managed to convey that emotion through my editing. Cynthia and Ari delivered outstanding performances.
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2024-11-01 21:17