Wicked’s production designer explains how the sets were created for the film

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As a seasoned moviegoer with a soft spot for practical effects, I must say Nathan Crowley’s work on Wicked left me simply spellbound! The man behind the scenes for some of Christopher Nolan’s masterpieces has once again proven that he weaves magic with his design prowess.

In simpler terms, Nathan Crowley, the production designer, expresses his frustration by saying, “They don’t hire me for visual effects films!” He frequently encounters comments such as, “This set is too extravagant,” but in the end, everyone acknowledges, “It turns out to be just right.” He often faces criticism, and when he suggests ideas like, “Let’s plant millions of tulips” during a production meeting, people think he’s gone mad.

In my own words, I’d say something like this: “For the production of ‘Wicked’, I took on the challenge of convincing Universal Pictures to invest financially and place their trust in me. Instead of relying on digital sets, I opted for the traditional approach of physically constructing all the sets.

In Norfolk, tulips were cultivated with assistance from neighboring farmers who procured bulbs directly from Holland. As Crowley elucidates, designing Munchkinland was challenging due to its themes of Hobbits and French Alpine villages. The initial thought was, “What else do they do besides sing and dance?” To address this question, we established a business for them – tulip farming and dye production for fabric, making each house distinctly colored.

Director Jon M Chu expressed his desire for the viewers to experience joy while in Munchkinland, as this was the emotion he personally felt while watching The Wizard of Oz.

Crowley is renowned for his practical effects, so it’s no surprise that he delivers top-notch work. He’s collaborated with director Christopher Nolan, a fellow craftsman, on films like The Prestige, The Dark Knight, Interstellar, Dunkirk, and Tenet. Notably, Crowley has been nominated for Academy Awards for his contributions to these projects.

We strive for authenticity in all we do, with multiple motivations. One such reason is due to our use of IMAX cameras, which are renowned for their high resolution.” Crowley, an interior architecture graduate from Brighton School of Art, adopted hands-on, on-set techniques during his work on Bram Stoker’s Dracula (1993).

The entire filming of “Wicked” took place in the UK, primarily at Sky Studios Elstree, located in Borehamwood, which is near London. We utilized all 13 sound stages spread across 27.5 acres, yet it wasn’t sufficient, so an additional six sound stages were also employed at Leavesden Studios.

Over a span of two decades, Crowley and his skilled team constructed three massive outdoor filming locations. The construction process spanned approximately 20 weeks, while the heights of these sets ranged from 35 to 50 feet.

The team was assigned to construct various well-known locales of Oz, such as Shiz University, the Ozian Woodlands, and the Emerald City, among others. Over a span of one and a half years, they shot both Wicked and its sequel, Wicked: Part Two (scheduled for release in 2025).

In essence, Crowley explains that the design process involves figuring out the best way to reach their destination, Shiz. They can’t use an airship because it would intrude on the Wizard’s territory who uses hot air balloons. They also can’t use a carriage since the animals are free, and using them could be seen as enslavement and damaging to the storyline. Instead, they decide that a river is necessary for travel but this introduces the problem of needing water. As a result, some sets were constructed with water tanks to accommodate boats for crossing.

Crowley drew significant inspiration from the motifs of American culture and the concept of “romantic” robots. The Wizard of Oz isn’t just a magician; he’s an illusionist. He employs robots, which explains why his technology revolves around clocks and clockwork. Consequently, the train in this context is envisioned as a clockwork train, not a steam train because steam technology is too grounded or earthbound.

The entire 32-tonne train known as the Emerald City Express, capable of movement, was designed with the purpose of transporting Galinda (later Glinda, portrayed by Ariana Grande) and Elphaba (played by Cynthia Erivo) to meet the powerful Wizard. I mused, “What if it’s similar to Lady Penelope’s car in Thunderbirds? It’s a single, continuous vehicle that can only accommodate one or two individuals, as access to the Emerald City requires a special ticket.

Since ‘The Wizard of Oz’ is an American folktale, it must be set in America. A vast train traversing through an unending wheat field in the Midwest is a distinctly American sight, leading me to also engage in farming wheat!

As a devoted fan, I can’t help but share my awe when describing the first encounter between Elphaba and Glinda in the Emerald City. Upon our arrival, the Wizard was not as we expected; he appeared as a towering 15-foot animatronic head, illuminated by glowing eyes. A puppeteer skillfully controlled his facial expressions, while a hydraulic arm guided him through the grand curtain’s parting.

Crawley is similar to a puppet master, orchestrating events from behind the curtains. I prefer to lurk in the background, observing as people engage with the sets, since I’ve been meticulously crafting them for months, so there are subtle movements and unexpected elements. Unlike the Wizard, Crawley’s production design is not mere illusion; it’s a tangible manifestation of hard work and creativity.

Beyond all else, Kiamo Ko has succeeded in overcoming the effects of gravity. For him, a castle suspended in mid-air, there are an array of reversed arches, their peaks pointing skyward, creating a space devoid of gravity’s influence. “You must believe you’re in Oz,” he says. “Just observe it without questioning it.

I strive for maximum effort in every project, working tirelessly until we hit our limits. Actors and crew members truly embody their roles, making the story feel real and authentic. For me, this authenticity is crucial; I find that it creates a more compelling visual effect compared to digital effects.

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2024-11-22 18:08