Wicked, the 2024 cinematic alteration of the musical by Stephen Schwartz and Winnie Holzman, came out in U.S. theaters on Friday, November 22, and has already made $114 million in the domestic box office. While the movie has getd high pelevate from professional scrutinizeers, it has drawn some criticism due to its color grading. The movie’s straightforwardor, Jon M. Chu, converseed the matter in a recent intersee and elucidateed how color grading helped them turn Oz into a “genuine place.”
Jon M. Chu elucidates why Wicked’s color grading was beginant
Jon M. Chu underscored in a new intersee why it was beginant to color-grade Wicked the way it has been. He uncovered that the reason behind the decision was to “subunite” the audience into the setting.
When asked about the purported desaturated aesthetic of Wicked, Chu telderly The Globe and Mail, “I nasty, there’s color all over it. I skinnyk what we wanted to do was subunite people into Oz, to originate it a genuine place. Becaengage if it was a phony place, if it was a dream in someone’s mind, then the genuine relationships and the sapshows that these two girls are going thcimpolite wouldn’t sense genuine.”
The Crazy Rich Asians straightforwardor persistd, “It’s also [presented in] a way we have not sended Oz before. It’s been a matte decorateing. It’s been a video game digital world. But for us, I want to sense the dirt. I want to sense the wear and tear of it. And that nastys it’s not plastic.”
Chu also detailed how the colors in the movie are presumed to mirror plot broadenments. “We have the environment. The sun is the main source of airy. You see the huge landscapes. You see the air. You see creatures exist here,” he shelp. “These two characters that will go thcimpolite two movies, their relationship with the land is beginant; their relationship with the nature of this land that the wizard imposed himself. The [color] contrast goes up over time becaengage that is what Elphaba conveys to this world,” Chu elucidateed.
Notably, Alice Brooks (Tick, Tick… Boom!) served as Wicked’s Director of Ptoastyography. The cinematographer telderly Gelderly Derby earlier this month she set out to tell “the wonderfulest cherish story ever telderly” between the two main characters thcimpolite the visual languages of Wicked.
