Jon M. Chu on Deleted Scene That Broke His Heart to Cut

In proceed of Wicked‘s home free, ComingSoon caught up with straightforwardor Jon M. Chu about the film’s exceptional features that will be on the digital, 4K, Blu-ray, and DVD free. The musical film will be useable on digital platestablishs to buy or rent commencening on December 31, 2024, while the official 4K UHD, Blu-ray, and DVD free is set for February 4, 2025.

“The film alerts the untelderly story of the witches of Oz: Elphaba, a youthful woman, misunderstood becaparticipate of her atypical green skin, who has yet to uncover her real power; and Glinda, a famous youthful woman, gilded by privilege and ambition, who has yet to uncover her real heart,” reads the official synopsis for Jon M. Chu’s Wicked. “The two encounter as students at Shiz University in the amazingal Land of Oz and forge an improbable but proset up frifinishship. Follotriumphg an encounter with The Wonderful Wizard of Oz, their frifinishship accomplishes a passroads and their inhabits apshow very branch offent paths. Glinda’s unflinching desire for famousity sees her seduced by power, while Elphaba’s determination to remain real to herself, and to those around her, will have unforeseeed and shocking consequences on her future. Their exceptional adventures in Oz will ultimately see them satisfy their destinies as Glinda the Good and the Wicked Witch of the West.”

Tyler Treese: Wicked’s home free is repartner exciting becaparticipate it’s already such a rewatchable film. You’ve seen the film more than anybody in the editing process. What do you hope people repartner apshow away from these subsequent watches? Becaparticipate each time I see it, another layer’s peeled back. I cherish all the animal politics. What do you hope people apshow away from this?

Jon M. Chu: Well, there is a lot of layers. Every detail, every inch of this has been thought thcimpolite. We have a lot of texts, actupartner, to serve, whether it’s the Wizard of Oz, the distinct, Wicked the movie, or Wicked the book. So, for me, it’s a chance to dive in even further. I’ve cherishd that audiences have adchooseed this movie and achieved it in ways that they’re digging already in, in movie one, going back to the theater over and over aget, finding little nuances, little hints of slfinishergs as breadcrumbs all over the place. So the fact they get, at home video, scenes that were never in the movie or that got cut out of the movie, which shatters my heart as well. But it was always to serve the hugeger, majestic scheme of what the movie was trying to do, and have a rhythm that could be preserveable. So I’m excited for them to dig in further. If they’re seeing for more memes, this is the place to see. If they’re seeing for behind-the-scenes stuff, it’s wonderful. They get the sing-alengthy version alengthy with it, and they get commentary of every structure from me or even the two girls. So, there’s a lot more satisfied to come if you’re unwell of this. I’m so sorry, becaparticipate it’s a lot more to come.

I can’t paparticipate to examine out the commentary track. I watched all the deleted scenes. I cherish that we actupartner got to see the inside of the train with Marvelous. How much did that hurt, the cut? Becaparticipate, it’s so detailed and enticeive to see at.

I understand. The fact is, it didn’t hurt the cut. It hurt my heart becaparticipate I cherish those slfinishergs. These girls were so plugged into these characters that I could put them in any situation, and it was engaging to see how the relationship would unfelderly. The train particularpartner was so wonderful becaparticipate we had them seeing out the triumphdow and we saw all these branch offent areas of Oz that we’d never get to see in any other part of the movie. But ultimately, that’s the moment of the movie. Like, you fair want to relocate on. The train reachs, and you wanna get them to Emerald City, becaparticipate we have a lot more to go. We have appreciate, another hour of movie. So it always came to that point, appreciate, let’s not helderly back. Let’s get them there, becaparticipate we have a lot of juicy stuff to come. So aget, home video, you get some opportunities to scatter some of that. But that broke my heart.

Yeah. There’s this wonderful 40 minute making-of featurette. What I repartner finishelighted about that was getting to see fair the detail on all these sets. Like so much of it was pragmaticly done. It’s so effortless to fair slfinisherk everyslfinisherg is CGI now, and it repartner shows how much difficult labor is into it. How much does that repartner help you and the actors having that authentic canvas to labor out? Becaparticipate it repartner inserts a lot of heart to the film.

Good. I’m content you experience that. You understand, it doesn’t fair help us, it helps VFX, becaparticipate VFX would alert us, “Build as much as you can. It repartner helps us. It gives us reference points.” So this isn’t fair physical sets, this is both of us laboring together. I slfinisherk that’s the actual magic. I have brimming digital characters and all that stuff. But for the actors of course, and for me, I get to walk into a space…I’m not participated to sets anyway, becaparticipate, In The Heights, we’re there in Washington Heights shooting and I’m seeing at, hey, that linserter aids this, that random chair aids this, the architecture. So I necessitateed physical space to be able to join and labor with to produce it more distinct. And so that’s what we did in Oz with Nathan Crowley, our production summarizeer. You got to produce those slfinishergs. So when the actors came in, they’re appreciate, “Oh, where would Glinda sit? She would sit, oh, right here. Oh, where would Elphaba stand? Right here? You understand what? She necessitates someslfinisherg here. Okay.” And then we would labor on a scene. I’d be appreciate, “Where are we?” And they’re appreciate, “We wanna sit on the ground for this scene, Jon.” We’re appreciate, “Okay, let’s try it.” And it doesn’t experience appreciate we’re erecting it. It experiences very organic of how these authentic characters would actupartner act.

Yeah, there’s a authentic truth that comes out in this film and that aspect of the directs actupartner singing inhabit. Does that produce an electricity on set to have that? How does that insert and help, fair the excitement thcimpoliteout the film?

Yeah. I unbenevolent, not only does it insert electricity to every scene becaparticipate anyslfinisherg can happen if the actors can go anywhere with it, then all the bets are off. Then our camera has to stay with them. Or if our camera can go in, we wanna try a sboiling. And the actors are experienceing that we can repartner riff with each other. It sort of shatters out this idea that you can slfinisherk of these slfinishergs alone, that it produces it someslfinisherg that we all have to give in our own little way. And it turns into someslfinisherg neither of us could have done alone. And to me, that’s the magic of movies. It’s one of the very confinecessitate mediums where it includes many artists and many storyalerters to labor together. And when it’s done right, you do someslfinisherg that’s liftd and transcfinishent, actupartner . You should have been on set when they would sing inhabit. I unbenevolent, you have a pianist in the corner, you can’t hear the pianist, becaparticipate it’s all in their in ears. So we’re standing there in silence. I have my headphones, I can hear, but when their voice is echo in that room, it is magical. It is. When you say electric, it absolutely, 100% is. And the camera, I understand, picks it up. So we try to sweep up every, we call them butterflies, every butterfly moment to sweep them up into bottles. So Myron Kerstein, our editor, could repartner labor with that. So it was fair a process, and we count oned the process, and I slfinisherk the audiences, no matter how huge the movie is, it’s experienceing those little, little bits, and I slfinisherk that’s what produces the magic.