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Renowned music producer Greg Wells has established a remarkable career primarily working with iconic pop artists like Adele, Katy Perry, OneRepublic, and Timbaland, among others. However, in recent years, he has significantly shifted his focus towards film scoring, particularly in his role as the music producer for both parts of “Wicked.” He describes this undertaking as a “Herculean” task, requiring both quantitative and qualitative skills, which speaks to the complexity involved in adapting such a beloved musical. This follows his previous success with the Grammy-winning soundtrack of “The Greatest Showman.” His extensive training in classical and jazz music proves indispensable as he crafts soundtracks that beautifully blend heavy orchestration with the contemporary styles of today’s leading pop artists.

In an insightful Variety Q&A, Wells elaborates on the profound emotional connection he has with the “Wicked” project. He shares anecdotes about his nearly 35-year friendship with composer Stephen Schwartz, the intricate creative processes that spanned two and a half years for Part 1 of “Wicked,” and his collaborative experiences with the leading actresses. Interestingly, he did attempt to infuse a hip-hop element into the song “Popular,” which ultimately fostered a fantastic working relationship with Ariana Grande. The most beautiful bond that blossomed from this musical endeavor, according to Wells, was between Grande and Cynthia Erivo. Their initial vocal harmony was so extraordinary that it felt almost supernatural, leading to a genuine friendship beyond the studio.

Reflecting on his long-standing friendship with Stephen Schwartz, what was your initial reaction upon encountering “Wicked” for the first time?

The first time I experienced “Defying Gravity,” I felt utterly overwhelmed and emotionally impacted, to the point where I almost left the theater before the performance concluded. I was so captivated that I didn’t even stay for the second act that night. When I learned that Stephen Schwartz wanted me to get involved in this project, my immediate thought was: I have the opportunity to contribute to that music. I found myself wanting to recreate that powerful experience for the audience, similar to the profound feelings I had during my initial encounter with the music.

So, you did leave at intermission because of how deeply moved you were? It seems breaking the film into two parts works well for you, considering how you experienced the stage show originally.

Indeed, “Defying Gravity” felt like my conclusion that evening. I turned to my date, nearly speechless, unable to articulate what I had just witnessed. Although I had known Stephen as a friend since 1990, we had never collaborated until then, and I was unaware that such powerful music was about to unfold. The emotional weight left me with a lump in my throat, so immense that I simply said to my date, “I think I need to leave.” That was indeed my first experience, and in hindsight, it makes perfect sense to divide it into two films!

Let’s delve deeper into your intense emotional reaction to the music. How did your philosophy guide you throughout this extensive collaboration with the cast and the entire music team?

Throughout this journey, we all felt a profound sense of responsibility to create something authentic and impactful. I had ongoing discussions with everyone involved, including director Jon Chu, arranger Stephen Oremus, and the two leading ladies. Our shared goal was a unifying force, driven by the fear of not doing justice to such an iconic piece. There’s a compelling narrative in “Wicked” involving a common adversary, which, in our case, was the pressure of getting it right. (For further insights, check out Variety‘s earlier interview with Schwartz and Oremus here.)

I was determined not to tarnish the legacy of “Wicked” for the devoted fans who had experienced the live version. I recognized that for many, their first introduction to “Wicked” would likely be through the film, given that not everyone has access to live musicals. The audience for live theatre is often limited, and even if they do have access, attending is expensive, thereby narrowing the audience significantly. My goal was to balance the original essence while ensuring that we appealed to a broader audience through the film. This balancing act reminded me of Bob Dylan’s decision to go electric; it was a bold move that alienated some of his original fans, yet ultimately, it proved to be a pivotal decision in his career. I was continuously weighing how far to take this adaptation while respecting the original work.

Can you recall a specific moment when you realized that the chemistry between Cynthia and Ariana truly resonated, rather than just being a theoretical hope based on casting?

During the early rehearsals, I was present as we navigated through determining who would sing what. We spent substantial time at the studio built for us at Elstree Studios, where Universal had created an exceptional environment for the cast and music team. Over the course of two months, I witnessed Ariana and Cynthia build rapport and seamlessly connect in a dynamic that was both empathetic and respectful. Remarkably, they had never met before this project, nor had they worked together. However, it quickly became apparent that a beautiful synergy was emerging, particularly in their vocal vibratos.

Achieving this level of vocal harmony is incredibly rare, especially given their distinct styles. The only commonality was their height, both standing around 5’1″. They are vastly different artists, each with their unique vocal qualities. For weeks, we rehearsed in a studio environment equipped with high-quality microphones, allowing them to perform live duets without overdubbing. I began to notice a phenomenon in audio known as phasing, where their voices became so closely aligned that it often sounded as though only one person was singing.

One evening, I found myself alone at Elstree — a location famously known for filming “The Shining” in the ‘70s. I sat there with just a security guard at the entrance and a small cleaning crew. While analyzing the waveforms in the audio software, I observed that Ariana’s track was perfectly aligned with Cynthia’s, revealing a remarkable similarity in their vibrato patterns. Each waveform appeared almost identical, showcasing their synchronized vocal delivery.

This sounds almost eerie.

As I studied the waveforms, I noted that the vibrato shapes, which typically appear bumpy, were indistinguishable from one another. For instance, when a word like “timing” is pronounced, it manifests as a clearly defined segment within the sound wave. The precision of their performances was astonishing, leading me to believe that it had been painstakingly edited for perfect synchronization, but in reality, it was merely how they performed together in the studio. I was so taken with this discovery that I captured a screenshot of this unique moment and shared it with both artists, expressing my amazement. They were equally thrilled and astonished by this phenomenon. Ariana even suggested color-coding the waveforms to represent each character, which was a fun idea.

The chemistry between Ariana and Cynthia was the most striking aspect of this film project for me. Their connection was not only infectious but also deeply moving and authentic. Watching their friendship blossom outside of the film, rooted in this extraordinary artistic experience, was truly remarkable. It was a privilege to play a role in facilitating that connection.

Did you notice if Ariana or Cynthia ever felt apprehensive about being compared to the previous performances of the roles?

To be honest, I don’t recall any conversations where they expressed concerns about comparisons to the original cast. They both have immense respect for the performances of Kristin Chenoweth and Idina Menzel. From my recollection, their focus was on honoring the original work while also bringing their unique flair to the characters. They were given the freedom to explore their individual interpretations, which was crucial to their performances. Stephen Schwartz embraced some of their ideas from the outset, while others took time for him to appreciate. Cynthia, in particular, emphasized the importance of expressing her authentic self through her portrayal, ensuring that it resonated from within. It’s not just technique; she genuinely feels the music, and when she sings from her core, it creates a completely different experience.

Can you recall a moment where she advocated for a creative change that proved successful?

Absolutely! At the end of “I’m Not That Girl,” there’s a beautiful little riff that was initially cut because it was deemed excessive. However, when she heard one of the final mixes, she expressed her desire to reinstate that ad-lib moment. I absolutely love that moment; it’s one of my favorites in the entire track. Interestingly, another singer even highlighted that specific section in an Instagram post, emphasizing its significance.

Additionally, the climactic finale of “Defying Gravity” was another instance where she didn’t want to mimic Idina’s interpretation. She was determined to make it her own, and we explored various renditions before settling on the final version. Watching her perform that piece was truly remarkable; she approaches it with an authenticity that requires her to connect deeply with the material, which necessitated some adjustments along the way. While not every change she proposed made it to the final version, many of her creative insights were integrated.

What were your thoughts on the extent to which you could innovate while respecting the original cast album that fans cherish?

While the orchestration has evolved significantly, I was committed to ensuring that the essence and emotional fabric of the songs felt familiar and recognizable to audiences. There was one specific instance where Stephen Schwartz graciously took some of the heat regarding the music “Popular,” which had been rumored to undergo a hip-hop transformation with funky drums. This narrative suggested the music team was enthusiastic about the change, but Ariana reportedly vetoed it. The truth is, it was entirely my idea, and it served as an important lesson in my understanding of film production.

I had previously produced a version of “Popular” featuring Ariana for UK artist Mika in 2012, which had a cool sound that resonated well with Ari’s vocal style. When I came across the piano riff, reminiscent of Jay-Z’s “Hard Knock Life,” I thought we could bring that vibe into the track. At that point, I had just joined the project, and the team had yet to film any scenes. I hadn’t met Ariana yet, but Stephen Schwartz approved that earlier version of “Popular” and even developed a friendship with Mika due to it. So, I asked for permission to experiment with a funky element, and they agreed, stating that if it didn’t work, we wouldn’t submit it. I pursued that idea, and musically, I was thrilled with where it ended up. It was one of the first submissions I made, and after playing it for Schwartz, he expressed his approval, suggesting we send it to the film team, including Jon and Ariana.

Silence. A week of silence… two weeks of silence. My self-doubt kicked in as I feared I had lost their confidence. Rumors began circulating about Ariana expressing concerns about the drums, leading me to worry that she thought I was too out of touch with current music trends. Finally, I decided I would meet her regardless, and we arranged a FaceTime session. The following day, we connected, and she was incredibly warm and welcoming. She is genuinely as lovely and down-to-earth as I remembered from our first conversation in 2012. I expressed my apologies regarding the drum situation, worried she might think I was too old-fashioned for the track. She reassured me, saying, “No, no, no, not at all! Let me explain. That sounds fantastic, but I’ve been working with my acting coach for at least a year, delving into: Who is Glinda? What drives her character? What defines Glinda? She’s not cool, slick, or funky; she wouldn’t sing on a track that feels that way.”

I cleverly joked, “Are you suggesting that Glinda claps on the first and third beats instead of the second and fourth?” which made her laugh. She agreed with my observation, confirming, “Yes, exactly! That’s it!” I followed up with, “So she claps ahead of the beat on one and three?” She responded enthusiastically, “Yes!” I realized then how crucial it was to align the musical elements with the character’s narrative, a lesson I hadn’t fully grasped before. This realization transformed my approach, and I endeavored to ensure that every musical decision aligned with the character’s essence. While I inadvertently retained a hint of funkiness in the bass drum pattern, it remained in the final bars of “Popular.” However, Ariana insisted that it needed to be toned down, stating that it was too rhythmic for Glinda’s character and that she didn’t want to be perceived as “Pop star Ariana Grande has pop-ified Glinda.” That conversation was a pivotal moment in my understanding of character-driven music production.

This experience taught me invaluable lessons about the collaborative nature of filmmaking. Unlike my previous work, where I would produce albums with small teams, film production involves a multitude of contributors, each with their own perspective and creative input. I asked Stephen Schwartz about decision-making power in the production, and he candidly stated, “I do if it’s my musical. But I listen to nearly all ideas; they can come from anywhere.” This insight highlighted the collaborative spirit of filmmaking, which was a new and enlightening experience for me.

Given that you recorded a complete version of the soundtrack vocals in the studio as backup before the live performances, did the final soundtrack album reflect exactly what we hear in the film, or were there instances where it made sense to revert to the pre-recording?

The vocals in the film are essentially the same as those used in the soundtrack. There were only a couple of instances where Stephen Schwartz requested an alternate take. I did notice when viewing the final film mix at Warner Bros. that there was one line Ariana sings in “What Is This Feeling?” that differs from the soundtrack. Initially, it was consistent, but during editing, it was modified, and I believe our composer preferred the revised version. Thus, there are a few minor variations.

The edits are certainly distinct. For the soundtrack, we aimed to seamlessly piece together segments that had been broken up for the film. For example, “Gravity” has multiple stops and starts based on the film’s narrative. It wouldn’t make sense to replicate that on the soundtrack, so we had to manage several tracks similarly. Additionally, Stephen Schwartz composed an exquisite, Aaron Copland-esque section for “Defying Gravity,” which I adore. He intended for this piece to coincide with Glinda draping the cape on Elphaba as she transforms into the Wicked Witch. Stephen felt it was too elaborate for the film, preferring something aligned with the existing temp track, which was also incredible. Therefore, he proposed using that beautiful piece for the soundtrack album. These creative variations contribute to the overall richness of the project, while vocally, aside from a few words — just a handful, really — the soundtrack mirrors what is presented in the film.

There’s also a moment in “What Is This Feeling” that differs on the soundtrack because Stephen Schwartz had specific preferences for how he wanted certain elements to sound. He realized he had more creative freedom for the soundtrack album. Ultimately, we all aimed to provide fans with a genuine representation of the film’s music on the soundtrack.

Often, record labels releasing soundtracks overthink their approach. For instance, in “The Greatest Showman,” Atlantic Records had Kesha re-record “This Is Me,” likely believing it would add commercial appeal. Similarly, Disney thought having Demi Lovato sing “Let It Go” would enhance its radio presence. However, audiences had already fallen in love with the film, and they wanted to hear the version that accompanied the visual narrative, which evokes a unique emotional response. It’s disheartening when fans feel misled; they are often more discerning than they are given credit for.

What aspects of “Wicked” resonated most with you during your initial encounter with the material many years ago?

Stephen Schwartz’s writing is filled with surprises and a remarkable range, two qualities I deeply appreciate in any form of art or storytelling. I despise predictability, especially when humor is involved; I prefer being caught off guard by unexpected twists. In music and storytelling, I thrive on surprise. The brilliance of Gregory Maguire’s book, which inspired Schwartz, is its ability to operate on multiple levels. Particularly in the first part of the live musical and the film, it can be interpreted as a “family film.” This duality adds depth, making the seemingly lighthearted aspects more insidious and wicked, especially when the opening number, “No One Mourns the Wicked,” hints that not everything is as it seems.

I appreciate how the story unfolds on various levels,