Making a Handmade, Touchable Big Musical

Cinematographer Alice Brooks, ASC was in post on In The Heights four years ago when director Jon M. Chu let her know their next project together was adapting the world-famous Broadway musical, Wicked. With such a huge fan base, Alice and Chu wanted to make sure they respected the musical, but they both wanted to find a dynamic, filmic way to approach the material. “John kept instilling in us, don't make the obvious choices,” Alice says. “We were all creating a world of Oz together that no one had ever seen before, that was magical and wondrous and a little bit different.” Alice chose to go back to the source material for inspiration- the Oz books by L. Frank Baum. “Every single paragraph has an incredibly rich color description. Beautiful, poetic, just the world of Oz in color. It's unbelievable. And color means something, color is symbolism in Oz. No color is arbitrary.” Alice embraced all the colors of the rainbow for Wicked. They chose the color palette of pink and green for Glinda (Ariana Grande) and Elphaba (Cynthia Erivo), with pink hued lighting to represent hope and connection between the two characters. In Wicked, good and evil are not as clearly defined as in typical fairy tales, since it's the origin story of how Elphaba becomes the wicked witch. Alice knew she could play with light and contrast between the two characters. Sunrise lighting would represent Glinda, while sunset and darkness represented Elphaba. Alice made notes in the script for time of day as references for each character. She worked closely with gaffer David Smith to create complex lighting cues throughout the film to match sunrise for Glinda and sunset and darkness for Elphaba. Early on, the production team discussed how to create the magical world of Oz without relying on bluescreens or virtual production. In London, they built real, massive, practical sets just like in old Hollywood movies. Alice remembers that Wicked used 17 sets that were 85 feet by 145 feet, with four huge backlots: Munchkinland, Shiz University, the train station, and Emerald City. Each was the size of four American football fields. “We had real tangible spaces to light and to create in,” she says. “And we didn't live in a blue screen world that so many movies do these days.” To create just the right green skin tone for actress Cynthia Erivo, Alice and makeup designer Frances Hannon did several makeup and lighting tests on different shades of green. It took a lot of trial and error to find the right shade of green- many hues simply looked like paint, or appeared grayish under the lights. As the DP, Alice also had to choose what lenses Wicked would use to capture both the scope and intimacy of the story. She worked with Dan Sasaski, Panavision’s senior vice president of optical engineering and lens strategy, to create the Ultra Panatar II series of lenses for the film. For closeups, Alice chose a 65 mm lens for Cynthia Erivo and a 75mm lens for Ariana Grande because she found that a slightly different focal length for each actress worked best, due to the different shapes of their faces. Find Alice Brooks: Instagram @_alicebrooks_ Hear our previous interview with Alice Brooks on In the Heights. https://www.camnoir.com/ep130/ Wicked is currently in theaters. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz