Brief Summary
Alice Brooks, the cinematographer for "Wicked," discusses the film's visual aesthetic, practical effects, and the collaborative filmmaking process. She shares insights into using natural lighting inspired by nature, the challenges of lighting large sets with 360-degree shots, and the importance of building trust within the crew. Brooks also touches on creating intimacy between characters, breaking the fourth wall, and using physical comedy with camera movement. She explains how Unreal Engine was used for pre-visualization and offers advice for aspiring female cinematographers.
- The film aims for a classic Hollywood Americana look with romantic and immersive worldbuilding.
- Nature, especially the sun, plays a key role in the lighting, with sunrises for Glinda and sunsets for Elphaba.
- Collaboration and trust within the crew were essential, fostered through initiatives like "Movie Club."
Alice Intro
Alice Brooks introduces herself as the cinematographer for "Wicked" and welcomes viewers to the Go Creative Show.
Introduction and Background
Ben Canoli introduces Alice Brooks as a returning guest to the Go Creative Show, highlighting the overwhelming fandom for "Wicked," especially from producer Connor, who has seen the movie seven times. Alice expresses her excitement to discuss the film with someone so familiar with it.
The Visual Aesthetic of Wicked
Alice describes the film's visual approach, aiming for a classic Hollywood, epic feel reminiscent of "Cleopatra" or "Ben-Hur," while emphasizing the love story between the two main characters. She notes the goal was to create a romantic and immersive world, offering a unique version of Oz. When approached to work on the project, Alice was excited, considering it a dream job, especially given her background in musical theater and her long-standing relationship with director John Chu. She reflects on the resurgence of musicals in Hollywood and the incredible success and love people have for "Wicked."
The Return of Practical Effects in Cinema
Alice discusses the audience's positive response to the film's practical sets and real effects, suggesting it reflects a desire for authentic, immersive experiences in cinema. She recalls that the project began during the pandemic when movie theaters were closed, and the team aimed to create an experience that would draw people back to the cinema. Alice emphasizes the importance of detailed craftsmanship in the film, with every element carefully considered, from costumes to cinematography, to create a cohesive and immersive world. She mentions the subtle but impactful lighting cues, with about 6,000 in the movie, designed to evoke specific feelings.
How nature became the inspiration for Wicked lighting
Alice explains how nature became a central theme in the film's lighting and production design. The theme of light and darkness was explored, with the sun becoming a key spotlight. Sunrise is associated with Glinda, while sunset is associated with Elphaba, reflecting their characters and journeys. The last hour of the movie is designed as one long sunset, and Glinda's big number, "Popular," is set during a sunrise.
Challenges of Large Sets and 360-Degree Shots
Alice discusses the challenges of lighting the film's large sets, some the size of football fields, especially with director John Chu's preference for 360-degree shots. She explains that these shots became a visual theme, requiring careful planning to avoid camera shadows and ensure the leads look their best. The production used 17 sound stages, with sets built from fire lane to fire lane and floor to ceiling, along with four exterior sets. Alice shares that she loves real sunlight but acknowledges its unreliability in the UK. She describes the lighting philosophy for these scenes, focusing on creating a specific feeling for each set rather than using a generic approach.
Building Trust and Collaboration in Filmmaking
Alice emphasizes the importance of trust and collaboration within the crew, noting that she relied heavily on her team to execute the film's complex lighting and camera work. To foster this, she started "Movie Club," where the crew watched and discussed films unrelated to "Wicked" to build camaraderie and a shared artistic understanding. This initiative helped the team develop a common language and trust, essential for the demanding 155-day shoot.
Intimacy and Character Relationships
Alice discusses the importance of balancing the vast world of Oz with the intimate relationship between Elphaba and Glinda. The focus was on creating close-ups that conveyed the emotional connection between the characters, from their initial animosity to their deep friendship.
Breaking the Fourth Wall in Film
Alice explains the choice to have Elphaba and Glinda occasionally break the fourth wall, looking directly at the camera to create a personal connection with the audience. These moments, such as in the "Popular" scene, are designed to make the audience feel like they are part of the characters' intimate interactions.
Physical Comedy and Camera Movement
Alice discusses how camera movement was used to enhance the physical comedy, particularly with Glinda's character. She mentions the choreography and timing involved in capturing these moments, with the camera often moving in sync with Ariana Grande's performance. The team workshopped the "Popular" number extensively, with contributions from Ariana Grande, choreographer Chris Scott, and the camera team.
Creating Isolation Through Cinematography
Alice explains how isolation was created for Elphaba through the use of restraint in camera movement and the power of silence. The film includes moments where the music stops, and the camera focuses on tight close-ups, emphasizing the character's vulnerability. Close-ups of hands and feet are also used to convey additional information about the characters.
Filming Dancing Through Life
Alice discusses the filming of the "Dancing Through Life" sequence, noting it was the first major dance sequence they shot. The team used iPhones to experiment with different angles and camera ideas during rehearsals. One challenging shot involved a parkour dancer flipping over the camera while it was spinning, requiring precise timing and execution.
Previs and Unreal Engine in Filmmaking
Alice explains how Unreal Engine was used in two ways: to place the large sets on the backlot according to the sun's position and to pre-light sets and test different lighting schemes. Unreal Engine was particularly useful for planning the Emerald City set, allowing the team to experiment with camera angles and set dressing when physical access to the set was limited. This process led to the realization that a low camera angle was more effective than a high one, influencing the set dressing and overall visual approach.
Advice for Female Cinematographers
Alice offers advice for female cinematographers, acknowledging the challenges women face in the film industry. She emphasizes the importance of staying focused on one's dreams and persevering despite obstacles. Alice expresses gratitude for the opportunity to work on "Wicked" and highlights the importance of connecting with other female storytellers.
Future Projects and Aspirations
Alice mentions that she is working on a new project but cannot disclose details, except that it is not a musical. She expresses excitement about trying something different after working on musicals for the past six years.
What did Alice take from the set?
Alice reveals that she didn't steal anything from the "Wicked" set but asked for and received two light fixtures from the Shiz sets.
