‘We planted nine million tulips’

As a seasoned cinema enthusiast with a penchant for practical effects and a soft spot for grandiose productions, I must say that the upcoming film “Wicked” has piqued my interest like no other. The intricate detail and sheer scale of the sets, as masterfully crafted by production designer Nathan Crowley, have left me in awe.

Wicked is in cinemas now. Add it to your watchlist.

Nathan Crowley, the production designer, remarks, “I’m not brought on for VFX movies!”, explaining that he often encounters comments such as, “This set is too extravagant.” However, in the end, people always return saying, “It turns out it’s just right.” He admits to receiving a lot of criticism, and when he suggests ideas like, “Let’s scatter nine million tulips,” everyone looks at him as if he’s lost his mind during a production meeting.

In the case of Wicked, it was him who took care of the task by constructing all the sets manually. To make this happen, he had to convince Universal Pictures to issue a check and place their trust in him.

In Norfolk, the tulips were cultivated with assistance from nearby farmers who procured bulbs from Holland. As Crowley explains, “Munchkinland was filled with design challenges such as depictions of Hobbits and French Alpine villages. The initial question was, ‘What else do they do besides singing and dancing?’ We provided them with a profession – they farm tulips and then use the petals to make fabric, so each house has a unique color.

As a fan, I can’t help but resonate with Director Jon M. Chu’s sentiments when he expressed his desire for us to feel joyful while we are in Munchkinland. That’s exactly how he felt as a viewer, immersed in the magical world of The Wizard of Oz.

‘We planted nine million tulips’

It’s only fitting that we demand the best from Crowley, given his reputation for creating realistic effects. He’s collaborated with fellow craftsman Christopher Nolan on projects like The Prestige, The Dark Knight, Interstellar, Dunkirk, and Tenet. These collaborations have even earned Crowley Academy Award nominations.

I always strive for authenticity, and one significant factor behind this is my preference for working with IMAX cameras – some of the highest-resolution cameras out there. As a graduate from Brighton School of Art in interior architecture, I’ve carried over that practical, in-camera approach to projects like Bram Stoker’s Dracula (1993).

The entire filming of Wicked took place in the United Kingdom, primarily at Sky Studios Elstree located in Borehamwood, which is near London. A total of 13 sound stages spread over 27.5 acres were employed for this production, yet it required additional space, so an extra six sound stages were utilized at Leavesden Studios as well.

For the past two decades, Crowley and his trusted team of builders constructed three colossal outdoor set areas. It required approximately 20 weeks to complete these structures, with heights ranging from 35 to 50 feet.

They were assigned to construct various significant locations from the story of “Wicked,” including Shiz University, the Ozian Woodlands, and the Emerald City, among others. Over the course of a year and a half, they shot both the movie “Wicked” and its sequel, “Wicked: Part Two” (scheduled for release in 2025).

In Crowley’s words, “Design is about figuring out the best way to reach Shiz. We can’t use an airship because it would intrude on the Wizard’s territory who uses hot air balloons. A carriage is not an option as the animals are free and enslaving them would ruin the story. The only solution seems to be a river, but that comes with its own problems like needing water for boats.” Consequently, some sets were constructed incorporating water tanks to accommodate boats for crossing.

In Crowley’s work, Americana and romantic automatons served as significant sources of inspiration. Essentially, the Wizard in “The Wizard of Oz” isn’t simply a showman; he is an illusionist who uses mechanical beings, or automatons. Consequently, his technology, represented by the train, is more akin to clockwork machinery rather than steam power. Given that steam technology is heavily tied to our planet, it wouldn’t fit well in this magical world.

As a cinephile, I often find myself pondering over the intricate details of on-screen marvels, such as the 32-tonne Emerald City Express. This magnificent vehicle, capable of motion, was meticulously designed with the sole purpose of transporting characters like Galinda (later Glinda, played by Ariana Grande) and Elphaba (portrayed by Cynthia Erivo) to meet the powerful Wizard. In my imagination, it resembles Lady Penelope’s car from Thunderbirds, a singular, continuous object that only accommodates one or two individuals. You see, accessing the Emerald City requires a unique ticket, making it an exclusive journey.

In my perspective, ‘The Wizard of Oz’ embodies the essence of an American fantasy tale, and to truly immerse myself in its spirit, I found myself venturing into the world of Midwestern barley farming. The vast, endless fields of barley under a train passing by, it’s as quintessentially American as Dorothy’s journey through Oz!

Upon their arrival at the Emerald City, the Wizard is initially depicted as an imposing 15-foot animated mechanical head, equipped with illuminating eyes and capable of expressing a variety of emotions thanks to a puppeteer’s manipulation. He also has a hydraulic arm for mobility, allowing him to move through the city’s entrance.

In a somewhat similar vein, Crawley could be seen as the puppeteer, orchestrating events from behind the curtain. “I enjoy observing people interact with the sets I’ve spent months crafting, because they come alive and reveal unexpected surprises.” Unlike the Wizard, however, Crawley’s production design is not merely an illusion; it carries substantial substance and reality.

Beyond all else, he’s proven able to go against earthly forces too. For Kiamo Ko, the castle floats above, its structure adorned with upside-down arches that pierce the sky, creating an area unaffected by gravity. “You need to think you’re in Oz. You must simply observe it and not doubt it.

I’m committed to going the extra mile, executing tasks to their fullest extent possible, until we reach our limits with the cast and crew. By immersing themselves in their roles, they help breathe life into the narrative. This aspect is crucial for me; I think it results in a more authentic and visually appealing outcome compared to VFX.

2024-11-22 21:04

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