00:00I always approach music-driven films through the audience's eyes. I lean into
00:08finding the heart in things, like that's my style. And with Wicked, even though we
00:14have these giant set pieces, this epic canvas, ultimately it's the human moments
00:21between these two characters that will really move the audience.
00:30In the screening room, I get to experience Wicked as an audience member
00:35for the first time. I'd sit there and watch every take that was shot the day
00:40before, and I'm taking notes about how things are affecting me emotionally.
00:45Having the experience of working on Crazy Rich Asians with John or In the
00:49Heights, I knew I found a brother, a kindred spirit. To have a co-conspirator
00:54in the creation of your movie, to have someone bounce off things, is the greatest
00:59gift a storyteller can have. Just to help generate ideas is something that is
01:04crucial in making any film. Making anything is a collaborative effort
01:08between two artists. You have to build trust, you have to be allowed to play as
01:13much, because you can do anything in editing.
01:19When I saw the Raw Dailies in the Ozdust Ballroom, every take I cried at. It's a
01:27pin drop. They're speaking without any words. For a movie that's full of words
01:31and music and dance, this is the most quiet and powerful of them all.
01:37We can't hide behind musical numbers, or flying monkeys, or scope. It's all between
01:45these two characters, and those are the hardest scenes to cut.
01:51I used Alphabuzz Dance as a place to start, because it really affected me
01:58emotionally, and then built Glinda and Alphabuzz Dance together second.
02:06At this stage, we really start to see them connect emotionally, and really start to
02:11feel the power of them together. And then we start to see how that affects somebody
02:17who's never felt that way about anybody else.
02:20This movie has really moved me, and I'm really excited for the audience to
02:27experience that.
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