Podcast Summary: All Of It - 'Wicked' Production Designer Nathan Crowley

Episode Details:

• Title: 'Wicked' Production Designer Nathan Crowley
• Host: Alison Stewart
• Release Date: February 28, 2025
• Series: The Big Picture (Spotlighting Oscar-nominated talent behind the camera)

Introduction to Nathan Crowley and the Episode

In this episode of All Of It, host Alison Stewart engages in an in-depth conversation with Nathan Crowley, an Oscar-nominated production designer recognized for his exceptional work on the film adaptation of Wicked. Crowley's impressive portfolio includes notable films such as The Greatest Showman, The Dark Knight, Interstellar, and Dunkirk. This discussion delves into the intricate process of bringing the fantastical world of Oz to life through practical set designs, the challenges faced during production, and Crowley's personal journey in the realm of production design.

Practical Set Design vs. CGI

Crowley emphasizes the importance of integrating practical sets with CGI to maintain a tangible, authentic feel in fantasy films.

• Balancing Practical and Digital:
  "Instead of relying on just CGI, Crowley and his team actually built the sets from Emerald City to Shiz Universe to Glinda and Elphaba's dorm room."
  (Nathan Crowley [02:01])

  Crowley explains that relying solely on CGI can detach audiences from the immersive experience. By constructing physical sets, they aim to evoke an "old school feeling" and provide a sense of originality and nostalgia.

• Impact on Actors:
  "Especially with younger actors, you know, they're not used to seeing fully realized props. So, we also have animatronic puppeteers."
  (Nathan Crowley [02:57])

  Practical sets enhance the actors' performances by allowing them to interact with tangible environments and elements, fostering a more genuine portrayal of their characters.

• Audience Experience:
  "As a designer, your ultimate task is to a little bit go unnoticed and let the audience sink into Oz and the story and the narrative."
  (Nathan Crowley [03:47])

  The goal is to create believable environments that allow the audience to fully immerse themselves in the film without being distracted by the mechanics behind the scenes.

Collaborating with Director John Shue

Crowley details his collaborative process with director John Shue, highlighting the synergy required to translate the script into visual storytelling.

• Initial Vision Alignment:
  "It's about spending time with people because we're all just searching with. Searching for the film."
  (Nathan Crowley [04:34])

  Crowley and Shue engage in extensive discussions to align their visions, ensuring that the production design accurately reflects the director's creative intentions.

• Visual Storyboarding:
  "We try and find common threads and themes and ideas by putting images on the wall in scene order."
  (Nathan Crowley [06:39])

  This methodical approach allows the team to construct a cohesive visual narrative, akin to a storyboard, that guides the film's aesthetic direction.

Challenges in Designing Wicked

Crowley candidly discusses the numerous challenges faced during the production of Wicked, particularly the ambitious scale and the commitment to practical effects.

• Scale and Complexity:
  "This was by far the most. The biggest and most challenging."
  (Nathan Crowley [06:48])

  The sheer scale of building extensive practical sets, such as Shiz and Emerald City, posed significant logistical and creative hurdles.

• Technical Difficulties:
  "There is no water tank in film that doesn't leak."
  (Nathan Crowley [08:44])

  Constructing large-scale practical elements like water tanks required innovative solutions to prevent issues like leaks, ensuring the integrity of the sets throughout production.

• Creative Problem-Solving:
  Crowley illustrates the intricate problem-solving involved, from designing a 100-foot train to integrating mechanical elements that align with the wizard's character.

The 9 Million Tulips: A Case Study in Production Design

One of the most fascinating aspects of Crowley's work on Wicked was the creation of the meadows leading to Emerald City, achieved through the planting of nine million tulips.

• Logistical Execution:
  "We need 9 million bulbs from Holland."
  (Nathan Crowley [15:59])

  Crowley recounts the logistical challenge of sourcing and planting nine million tulip bulbs, a task that required meticulous coordination and collaboration with tulip farmers.

• Creative Decision-Making:
  "All the colors of the rainbow is like, what can we grow? And then you immediately go to tulips."
  (Nathan Crowley [15:43])

  The decision to use tulips was driven by the desire to incorporate vibrant, rainbow-colored flowers that would enhance the visual splendor of the film's setting.

• Adaptability and Teamwork:
  When confronted with the reality of planting nine million bulbs instead of the initially thought one million, Crowley navigated the situation with flexibility and effective communication, ensuring the project's success.

Designing the Dorm Room: Elphaba and Glinda's Shared Space

Crowley explores the nuanced design of the dorm room shared by the protagonists, Elphaba and Glinda, highlighting how spatial design reflects character dynamics.

• Spatial Dynamics:
  "I knew if I made it circular, the camera wouldn't feel the restriction of the space."
  (Nathan Crowley [19:00])

  The elliptical shape of the dorm room was intentional, allowing for a sense of openness despite the limited space, thereby avoiding a feeling of confinement.

• Aesthetic Inspirations:
  "We went up to the sort of crazy onion domes at the top. We got a little private tour and it's like, okay, the room needs to be elliptical."
  (Nathan Crowley [19:00])

  Drawing inspiration from the Brighton Pavilion's unique architecture, Crowley infused the dorm room with distinct design elements that mirror the characters' personalities and their eventual lack of harmony.

• Integration with Choreography:
  The design process involved close collaboration with choreographers to ensure that the set accommodated complex dance sequences, incorporating practical effects like hydraulics for dynamic stage movements.

Crowley’s Career and Design Philosophy

The conversation also delves into Crowley's career trajectory and his evolving philosophy on production design.

• Career Beginnings:
  "Barry Levinson was actually the one who got me started on a film called An Everlasting Peace."
  (Nathan Crowley [12:46])

  Crowley's journey from set designer and art director to a renowned production designer was significantly influenced by his work with industry veterans like Barry Levinson.

• Design Philosophy:
  "Design is about fluid thinking. It's like, how are we going to solve that? It's not about negativity, it's about positivity and solving problems."
  (Nathan Crowley [12:54])

  This optimistic and solution-oriented approach underpins Crowley's methodology, driving him to navigate challenges creatively and collaboratively.

• Influence of Narrative on Design:
  Crowley stresses that every design decision stems from the script and the characters, ensuring that the visual elements serve the story's thematic and emotional needs.

Conclusion

The episode concludes with Alison Stewart summarizing her insightful conversation with Nathan Crowley, appreciating his dedication to practical effects and his ability to translate complex narratives into visually stunning realities. Stewart hints at the upcoming discussion with makeup artist Pierre Olivier Persan, setting the stage for continued exploration of behind-the-scenes artistry in filmmaking.

Notable Quotes:

• "Audiences feel that [a blend of practical sets and CGI]... the nostalgia of the set rather than being popped out of the experience by too much CGI." (Nathan Crowley [02:01])
• "If we can put them there in that place without them questioning it, then we've done our job." (Nathan Crowley [03:47])
• "Design is about fluid thinking... It's about positivity and solving problems." (Nathan Crowley [12:54])

Timestamp Highlights:

• 02:01 – Importance of practical sets over pure CGI
• 02:57 – Enhancing actors' performances with tangible elements
• 03:47 – Goal of immersive audience experience
• 04:34 – Collaboration with director John Shue
• 06:48 – Discussing the scale and challenges of the project
• 15:43 – Decision-making behind the tulip meadows
• 19:00 – Designing the dorm room for Elphaba and Glinda
• 12:46 – Career insights and mentorship under Barry Levinson

This summary encapsulates the rich dialogue between Alison Stewart and Nathan Crowley, offering listeners a comprehensive understanding of the meticulous artistry and collaborative effort involved in bringing Wicked to the screen.