Fans of the mega-popular stage musical Wicked have been waiting years for a film version to hit screens. We talk to two of the creatives that were tasked with bringing the impossible world of Oz to life.
Last year might have been awash in bright Barbie pink but 2024 is adding a green tinge. First, it was Charli XCX who saturated our screens with a lurid Brat green. Now, the long-awaited film adaptation of stage musical Wicked is ready to drench everything in pearly pink and witchy emerald.
No matter if you only know the soaring notes of 'Defying Gravity' or if you camped out for hours to catch a glimpse of the film's stars at theFrom the otherworldly space-scapes of Interstellar to the scrumdiddlyumptious shop fronts of Wonka, six-time academy award-nominated production designer Nathan Crowley has created his fair share of impossible scenes.Supplied: Universal"I'd never really been a theatre person. I'm a big film and cinema person.
Crowley and his team constructed the Wizard's head with mechanisms that change the structure's expression."We had a great puppeteer and we made a little scale model to show and he loved it. Then I told him we were building the entire room like this, which means a lot more involvement from everyone — that's the negative," Crowley says.
"I told them there were eight , thinking that would be a bit better but production eventually found out there were nine . Then Mark finally said to me, 'Well, I ordered 12 million!'"For cinematographer Alice Brooks, working on Wicked with director Jon M Chu was nostalgic. The two made their first film together — a musical — 22 years ago while in college.
William Wallace Denslow's original 1900 Wizard of Oz illustrations were inspiration for the Wicked cinematography.Brooks and her team took huge inspiration from L Frank Baum's original Wizard of Oz novel and W.W. Denslow's fantastical illustrations. "I had this idea that the sun would always rise for Glinda, and it would always set for Elphaba, so the last 40 minutes of the movie is one long sunset."Firstly, the exterior of Emerald City was built outside, because it was the size of four American football fields."And we had to shoot at night in the UK — which already has very little night time in the summer — because I needed it to be night in order to light it so that I could have a continual sunset," Brooks explains.
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