David Bridges
While the trailers for Wicked may not reveal it, audiences will quickly discover that this cinematic experience is only the beginning of a larger narrative. The film, set to premiere this week, is officially titled “Wicked Part One,” as prominently displayed in the title card. The film concludes with a compelling “To be continued” message, a clear indication that fans will need to anticipate the continuation of the story. This information has been public knowledge since April 2022, yet it hasn’t significantly influenced marketing strategies, understandably so. Moviegoers often prefer not to be told they are only seeing half a story, a sentiment echoed by many blockbuster franchises.
In a recent interview with io9, director Jon M. Chu shared insights into the decision-making process behind splitting Wicked into two films. He not only defended this choice but also explained how it played a crucial role in bringing the film to life. Read on to dive deeper into his perspectives on the filming process and how the second installment influenced production dynamics.
This interview has been edited for length and clarity. Stay tuned for additional insights from Chu later this week.
Germain Lussier, io9: Were you part of the decision to create Wicked as a two-part film series?
Jon M. Chu: Absolutely. There was quite a bit of back-and-forth at Universal regarding whether to make it one film or two, which contributed to delays in getting the project off the ground. They were toggling between the two ideas, and I felt it was my responsibility to advocate for a decisive direction. We needed to commit to whether we were making one film or two; there was no way to deliver a quality experience by remaining indecisive. Once we made that commitment to two films, we could start to dissect the narrative, fill in the plot gaps, and build the necessary elements leading up to the iconic moment of “Defying Gravity.” This was a significant decision that ultimately shaped the film’s development.
io9: With the need to ensure this film stands on its own, how did you approach this challenge?
Chu: The approach involved working backward from the pivotal moment of “Defying Gravity.” We recognized early on that the perspective in the film needed to deviate from that of the stage show. In the live performance, Galinda serves as a kind of emcee, guiding the audience through the narrative in a vaudevillian manner. However, in the film adaptation, we lacked that dual perspective. The audience must first engage with the world we’re crafting before the green girl enters the scene. In this version, the audience is introduced through her eyes, leading to a different comedic punchline when she remarks, “What the hell did I just walk into?” This shift establishes a new connection with the audience.
This narrative change allows us to explore the character’s growth. As she navigates her new environment, we witness her confusion in a world filled with song and dance. In “The Wizard and I,” her hidden talents emerge, revealing her potential. This technique uses the musical format to enhance storytelling, pushing the narrative to new heights. We then explore her journey as she transitions into her dorm room and meets Galinda. Instead of merely placing them in conflict, we delve into their discovery of one another’s complexities and the reasons they ultimately rely on each other. These thoughtful interactions set the stage for “Defying Gravity” to serve as the emotional climax of this film, with the sequel addressing the resulting consequences.
io9: What are your thoughts on the marketing strategy that omits “Part One” and any musical elements in the trailers?
Chu: Marketing operates on its own set of strategies, and I understand the reasoning behind their choices. From the outset, we communicated that Wicked was a two-part saga. I addressed this publicly, anticipating a mix of reactions. However, I remained confident that the narrative integrity was preserved. If we were to strip away the musical elements, it would no longer be Wicked. We knew we were making the right creative choices, even if the marketing decisions seemed puzzling. The trailers conveyed that we were sharing a musical experience, though I recognize the challenges involved in editing them. Cutting a trailer featuring multiple songs, each in different keys, presents significant technical hurdles. Maintaining a coherent flow while showcasing the musical diversity is a complex task that requires careful consideration.
io9: Can you share insights into the filming process for both films and the rationale behind your approach?
Chu: We opted to film both parts concurrently, engaging in what is known as block shooting. However, this required frequent changes in location. Our rendition of Munchkinland became a dynamic set, akin to the town square from Back to the Future, evolving throughout the production. Various scenarios unfolded, such as the house crashing into the scene, and the setting before and after the Yellow Brick Road was established. This necessitated a flexible approach to our filming schedule, particularly as we had specific timing constraints with actors like Michelle Yeoh, who was simultaneously vying for an Oscar. Ensuring efficient logistics was crucial to our success, and ultimately, I believe this approach was beneficial in maintaining the energy and continuity of the characters.
Moreover, the filming schedule was impacted by the strike, leading us to return for the emotional climax of “Defying Gravity.” This posed significant challenges for Cynthia [Erivo] and Ari [Grande], especially given that Cynthia had trained for a year to master the physicality and vocal nuances of her role. The six-month hiatus necessitated a quick adjustment upon our return. Fortunately, this break allowed us to recharge our creative energy, and both performers seamlessly stepped back into their characters, making the experience feel less daunting than anticipated.
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That’s just a glimpse into our extensive interview with Chu. Stay tuned for more insights on his involvement in the production, his creative process, and the intriguing narrative behind perfecting the show-stopping finale, “Finding Gravity.” Wicked will be in theaters this Friday, with Part Two set to be released next year.
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Ethan Carter
