WICKED PRODUCTION
her job, and this role in particular allowed her to fully express her appreciation for colour and visual tones. For instance, keen-eyed viewers will notice the correlation between Elphaba and the sunset, as well as Glinda and the sunrise. “When Jon and I talked about themes, we discussed the idea that lightness is not always light and the darkness is not always dark. Good is not simply good and evil is not always evil.” Brooks and her fellow filmmakers found inspirational cues in Baum’s poetry – which is rife with colour reference – and in W W Denslow’s original illustrations. “You can see the beautiful colours throughout the book,” she says, “and it definitely inspired the set design.” To film Wicked , Brooks chose the ALEXA 65. “The largest sensor we could use is the equivalent of 70mm film,” she adds. “We then shot with anamorphic lenses, but opted for a very subtle anamorphic effect.” Indeed, the lenses were unique, developed in collaboration with Dan Sasaki at Panavision. “As soon as I got the movie, I began working with Panavision to develop the lenses,” she explains. “Dan had this idea for a new lens and created prototypes. We’re the only movie to have shot with them.” Brooks shared her lookbook and visual references with Sasaki. “I wanted the movie to have a soft, effervescent feel with a slightly low contrast,” she describes. “Panavision lenses usually
have a blue horizontal flare, but we decided to go with an amber one. I felt blue was not the right choice for Wicked because of all the green and pink. Instead, we created a beautiful blue- amber flare that adds a touch of magic.” The magic Brooks and Chu brought to the picture is certainly palpable – its execution boosted by the filmmakers’ use of Unreal Engine. “At the very beginning, I could go into the computer using Unreal Engine and fly around a set with any lens. We could pre-light the set to see if the lighting and lamps were right. “For the incomplete sets – such as Emerald City’s exterior – we were able to establish our camera positions and rehearse the moves. I could go back to the set deck and point out, ‘These things are in the way’. Additionally, I would speak with [production designer] Nathan Crowley and say, ‘I need bigger windows here’, or ‘I need more space for the crane to get through.’ It became a great tool for communication.” As our communication draws to a close, Brooks moves her black & white feather, and I notice a crack in the frame. Brooks smiles. “I’ve often thought I should replace it, but then in Wicked – when Elphaba first meets Glinda in the dorm room – she gets so mad that their patio door cracks,” she shares. “That crack in the glass is where Elphaba begins to find her power.” She smiles at the parallel. “I think I’ll keep the broken frame.”
DREAMY DEPTH Brooks opted for the ALEXA 65 to achieve a soft, ethereal quality, perfect for the magical essence of Wicked
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