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Speaker 1: And That's what You Really Missed with Jenna.

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Speaker 2: And Kevin An iHeartRadio podcast.

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Speaker 1: Welcome to and That's what You Really miss Podcast. It's

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Speaker 1: a very exciting day. We have an old friend here

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Speaker 1: who's maybe one of the biggest stars of Hollywood right now. John,

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Speaker 1: I'm true.

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Speaker 2: John is just a great guy. He's just a good,

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Speaker 2: good person person and I'm so happy we get to

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Speaker 2: chat with him. And I think you will. How he

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Speaker 2: is when we talk to him now is how he

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Speaker 2: is all the time. Yes, the difference, there's no ego.

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Speaker 2: There's just the love for the craft exactly, love for

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Speaker 2: his friends, love for his coworkers, love for story and

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Speaker 2: what he's doing, and family and that goes into every

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Speaker 2: single thing he does. Also, forgot he was around us

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Speaker 2: during Glee.

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Speaker 3: Oh yeah, my way I think my way in was

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Speaker 3: like he was doing were like he's doing the Justin

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Speaker 3: Bieber like movie, which was one of the first of

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Speaker 3: those movies, right and he did it the best. And

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Speaker 3: he was just around us and I remember him with

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Speaker 3: Harry and you and everybody, and he's just the fact

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Speaker 3: and like his memories of Glee also are so sweet

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Speaker 3: and just like watching us and seeing us so like,

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Speaker 3: I'm I'm still astounded, and he remembers that, but that

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Speaker 3: was such a you know, and.

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Speaker 2: One breath I am and one breath I'm not because

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Speaker 2: that's the sum No, I know exactly. Well.

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Speaker 3: I hope you guys enjoyed this conversation with John. Yeah,

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Speaker 3: that's all I have to say.

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Speaker 2: Yes, strap In, this is John. I'm chu director of

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Speaker 2: Wicked and Wicked for Good. Where are you right now?

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Speaker 4: I am in New York City? Oh same, Yeah, I

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Speaker 4: know it's crazy because I was here only for Crazy.

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Speaker 4: Wh Change is the musical. So we have a twenty

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Speaker 4: nine hour read, which I've never done because I've never

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Speaker 4: directed a skill before.

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Speaker 1: So it's a wild that's so exciting.

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Speaker 3: Wow.

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Speaker 4: Wow, we have a whole cast of people. It's been

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Speaker 4: like today we do like a run through of it

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Speaker 4: and it's gonna be really fun.

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Speaker 2: Why do I sneak into that? That is incredible.

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Speaker 1: Wow, that's really cool. It's good to see you.

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Speaker 2: Yes, thanks for doing.

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Speaker 4: This great, thank you. It's been I've waited a long

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Speaker 4: time to do this. Guys watched I've listened.

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Speaker 1: Oh John, Oh my god, the business man at the

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Speaker 1: moment your podcast.

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Speaker 2: How are you doing? Like how do you feel mentally

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Speaker 2: physically through all of this, Like do you.

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Speaker 4: I feel, you know, exhausted. But as I saw in

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Speaker 4: some TikTok inspirational video, how blessed are we to be

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Speaker 4: exhausted for the work that we dreamed of since we

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Speaker 4: begged the universe for it since we were kids. Yeah,

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Speaker 4: I'm like, thank god we get to tell stories. Yeah,

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Speaker 4: and I got five kids, that's crazy. I gave year old,

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Speaker 4: six year old, four year old, two year old, and

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Speaker 4: one year old. And so the exhaustion is like beautiful,

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Speaker 4: Like you know how it is, Jenna, Like it's just

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Speaker 4: you watch someone discover the world every day. Yeah, it's

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Speaker 4: a cynical and annoyed. It can annoying sometimes it can be.

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Speaker 4: It can be like my little boys doing this poking

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Speaker 4: thing where he just like pokes you instead of like

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Speaker 4: holds your hand. And my wife's like, how do I

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Speaker 4: tell him?

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Speaker 1: Like it's really really annoying.

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Speaker 4: Like give him options, maybe say my head instead. I

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Speaker 4: don't know, And then I try to do it like, oh,

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Speaker 4: that's a great idea, John, let me just try to

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Speaker 4: do that, and he was like, nah, no, that's my

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Speaker 4: life basically.

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Speaker 2: Yes, when I think about like how are you or

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Speaker 2: anyone in your position. You have young kids, you're also

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Speaker 2: juggling a billion work things and also trying to like

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Speaker 2: because you work in a creative field, so like, how

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Speaker 2: do you keep your creative And I was like, you

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Speaker 2: know what, whenever I want something done, like I know,

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Speaker 2: Jenna is like the best person to call, or like

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Speaker 2: anybody with kids because either awake already. Yeah, but also

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Speaker 2: you have to be organized. You have to know how

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Speaker 2: to like still as much little free time you have

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Speaker 2: with whatever you want to be doing.

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Speaker 1: It's like Christian as possible.

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Speaker 4: Yes, yeah, you just roll with it. You just roll

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Speaker 4: with it, you go, you have solutions as quickly as possible.

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Speaker 3: Probably what makes you such a good director. You're like,

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Speaker 3: here's three options for you instead of the one.

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Speaker 4: Yeah, I couldn't tell what which which came first. Now

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Speaker 4: it's all blurred. But I'm pretty sure that directing helped

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Speaker 4: my parenting. My parenting actually helped my my directing more

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Speaker 4: because I think I think being a parent is really

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Speaker 4: creative and I think that it actually set rates. Like

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Speaker 4: I used to get stressed because I used to think

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Speaker 4: about the movie or the project when I went home.

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Speaker 4: When I'm sleeping when I get up and it's like

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Speaker 4: that's that's actually more exhausting, and that actually is a problem.

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Speaker 4: But when I when you come home and you got

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Speaker 4: to change a diaper, you gotta like calm a fight

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Speaker 4: down or something. You leave all that stuff gone and

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Speaker 4: you're still I mean, you can still jump back in,

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Speaker 4: but but yeah, there's a separation and your brain gets

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Speaker 4: to rest. And I think that that's amazing and I'm

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Speaker 4: more creative than ever for sure. Oh wow, that's great,

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Speaker 4: And to share this journey is insane. I can say, hey,

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Speaker 4: see these drawings, like now, these are going to become

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Speaker 4: real things. And then my kids come to the set

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Speaker 4: and they're like, oh now and feel the fabric, look

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Speaker 4: at the things. And then you go and you and you.

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Speaker 4: They go to school and now their friends have t

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Speaker 4: shirts of the drawing that they saw back in the

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Speaker 4: day and they were there, they were actually on the

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Speaker 4: yellow brick road. I think, I don't know how that

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Speaker 4: really messes with their head, but I think you dream

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Speaker 4: and it happens, and that's a natural thing of the world.

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Speaker 2: And actually, as a kid, when our imaginations are so

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Speaker 2: explosive and everything is an opportunity to use your imagination

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Speaker 2: when you're a kid. Also as an adult, boat we

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Speaker 2: have to remind ourselves of that. I think, yeah, and yeah,

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Speaker 2: that has to be such a crazy thing because most

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Speaker 2: of us are like, you know, using like cardboard boxes

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Speaker 2: and like sheets that we found to build costumes and like,

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Speaker 2: at least I was like building sets and things in

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Speaker 2: my house. And then they actually get to walk on

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Speaker 2: like people at the top of their craft doing like

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Speaker 2: the biggest thing possible.

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Speaker 4: Well, you know, as a as a kid, myself and

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Speaker 4: we would go to see shows, musicals, opera, ballets, whatever

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Speaker 4: it was, watching movies. You know, when you don't know

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Speaker 4: much about the business. You also don't the only access

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Speaker 4: point you have is like the acting side of it.

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Speaker 4: So you're in musical theater, you do all this stuff,

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Speaker 4: and then later you learn, oh, there's like a whole

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Speaker 4: other side. Yeah, like do this thing called directing. And

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Speaker 4: my kids definitely know like, oh there's like directing, there's

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Speaker 4: like in front and behind the camera. They understand what

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Speaker 4: all the things are, at least the concepts of and

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Speaker 4: so I think that's really interesting. We'll see how that affects.

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Speaker 3: Someone actually the producer, Okay, exactly. I love to tell

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Speaker 3: you speaking of little kids, I'm curious to hear, like

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Speaker 3: I just I can imagine somebody who studied the craft

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Speaker 3: and you know study, you know, production and TV in

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Speaker 3: school and all of these things, and just was immersed

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Speaker 3: in it as a kid. Like what would that John

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Speaker 3: say about John? Now, like did you manifest this?

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Speaker 1: Did you know? Or were you like would he be

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Speaker 1: like shell shocked?

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Speaker 4: Well, I have the weird answer and probably the more

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Speaker 4: realistic answer.

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Speaker 1: Well, give us the weird one.

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Speaker 4: The weird answer is, yeah, I knew. I feel like

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Speaker 4: I've already lived this life, and I felt like I've

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Speaker 4: seen all of this before and I was on a

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Speaker 4: journey and I had to stick to it. And that's

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Speaker 4: that's what I made myself. Whether it's real or not,

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Speaker 4: I don't know, but I really believed it. Since I

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Speaker 4: was probably nine years old, I did see this life

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Speaker 4: and in a weird way, did it make me sort

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Speaker 4: of just know that like whatever path I'm on, it

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Speaker 4: felt like a book that I was just on certain

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Speaker 4: chapters on and once I get through this chapter is

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Speaker 4: actually the next good part. And then I would tell

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Speaker 4: myself this. So again, whether it's true or not, I

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Speaker 4: don't know. But I sort of made myself believe that

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Speaker 4: that that's how I was going to survive all of this.

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Speaker 4: So every bad moment was I knew, oh no, don't worry,

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Speaker 4: You'll be fine. And for some reason, for some I

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Speaker 4: know that's not that doesn't necessarily work, but for some reason,

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Speaker 4: I did keep going, and I because of that, I

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Speaker 4: did get here to this point. But I don't think

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Speaker 4: that that's like a philosophy of life. I don't know,

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Speaker 4: but that's that's what I think now. The reality of

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Speaker 4: it all, I think, deep down, I don't believe I'm

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Speaker 4: any of this, and that I have to work really

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Speaker 4: hard to catch up to the image or what people

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Speaker 4: think or what my even my movies sort of present

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Speaker 4: to the world. So I'm always but I like to

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Speaker 4: try to live up to that. So I'm always chasing,

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Speaker 4: chasing this thing.

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Speaker 2: I feel like that's probably that sounds healthy, both of those,

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Speaker 2: like the balance of both of those. Like if you

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Speaker 2: had one of that the other night, I would be

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Speaker 2: worried about you. But because you have both, in my

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Speaker 2: professional opinion, because I will.

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Speaker 4: Be hungry, right like it keeps hungry if something's chasing

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Speaker 4: me and I'm chasing something and something's chasing me, and

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Speaker 4: I think that's an okay balance. I've never felt so

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Speaker 4: chased that I'm just scared. But I will say that

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Speaker 4: the thing that I think is the difference for me,

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Speaker 4: and sometimes I feel shame about it, is that my

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Speaker 4: entry point into movie making. I grew up loving movies,

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Speaker 4: watching movies, all those things, but my entry point was

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Speaker 4: making actually making movies because I was given a camera

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Speaker 4: and I was started to make stuff before I knew

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Speaker 4: even my full love of cinema. I was just it

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Speaker 4: was a process of making and I fell in love

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Speaker 4: with the shooting. I fell in love with the editing.

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Speaker 4: I fell in love with delivery, showing sharing to me

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Speaker 4: that I just knew that I was going to do

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Speaker 4: that for the rest of my life, whether whether I

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Speaker 4: was going to get paid for it or not. If

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Speaker 4: I wasn't getting paid by a studio, I'd be making

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Speaker 4: wedding videos and bar mits videos the way I did

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Speaker 4: in high school. Like I get just as much enjoyment

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Speaker 4: of videoing my children and videoing someone's wedding than making wicked.

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Speaker 4: To be honest, like there is something the process is

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Speaker 4: what I love at any scale. It is what I'm

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Speaker 4: addicted to, and so I guess maybe that's there's a

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Speaker 4: calmness to that that win or lose. I still got

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Speaker 4: my camera and I still got my editing and knowing

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Speaker 4: about that. So I don't know, maybe that's the that's

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Speaker 4: the part that I lean on often and and I

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Speaker 4: get embarrassed with that sometimes because some people want me

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Speaker 4: to be so in love with cinema that I know

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Speaker 4: every director and every shot and everything, and or they

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Speaker 4: want to know what's your dream job, like what's the

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Speaker 4: movie that you're ultimately going to make? And I'm like,

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Speaker 4: I just I'm not that person. Wicked is probably the

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Speaker 4: closest thing to that dream like image. But I but

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Speaker 4: I am. I. I like to exercise this tool and

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Speaker 4: I love to find new things. I love to reflect

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Speaker 4: what I'm going through in my life through it, and

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Speaker 4: I love to discover my life through it.

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Speaker 2: So wow, Yeah, I mean that sounds like something we

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Speaker 2: all can learn from, though, especially in the entertainment business.

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Speaker 2: So forget the shame, John, because I mean the process,

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Speaker 2: the experience of it, of why we actually love it.

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Speaker 2: I think so often like we can bear ourselves down

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Speaker 2: in like comparison, compare ourselves to others or going for oh,

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Speaker 2: I want my movie to look like this other movie

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Speaker 2: that was done by being able to actually like have

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Speaker 2: the tangible thing of being on a set or at

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Speaker 2: a wedding or whatever it is and actually doing it.

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Speaker 2: If that's if that's your way in like that sounds

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Speaker 2: like a really sort of wonderful thing to be able

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Speaker 2: to fall back on.

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Speaker 4: Yeah, I think I appreciate. I think I love the

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Speaker 4: collaboration as well, learning new ways to figure out how

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Speaker 4: to get better collaboration or get access to those things

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Speaker 4: while also having my vision. I think I love the

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Speaker 4: technical part of like how do you communicate and finding

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Speaker 4: finding the right words.

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Speaker 2: Yeah, we talked to Chris Scott, who we love, saying

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Speaker 2: I love and sweet man, I feel like you're like

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Speaker 2: Oprah and I'm alhamas I was Oprah Oprah because and

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Speaker 2: I swear this goes back to collaboration, because the whole joke,

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Speaker 2: like I have some of my friends like we all

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Speaker 2: want to be the Oprah where like if one comes up,

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Speaker 2: everybody comes up. And I feel like you have done

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Speaker 2: that in so much of your collaboration and in your

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Speaker 2: friendship and there's a lot of overlap there and someone

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Speaker 2: like Chris Scott, who choreographed Wicked and for Good and

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Speaker 2: The Heights, all these things, someone you've known. We've all

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Speaker 2: known each other for so long.

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Speaker 4: Long, long time now, and it's but.

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Speaker 2: It's really beautiful to see and as we've all sort

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Speaker 2: of grown up in this business where loyalty and friendship

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Speaker 2: often play second fiddle to like, you know, yeah, getting

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Speaker 2: a step ahead or like whatever it may be, and

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Speaker 2: building collaboration and building teams especially, I think something for

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Speaker 2: like these Wicked films where it's a gigantic team, where

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Speaker 2: do you start? And like how in that process of

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Speaker 2: building the collaboration is Chris Scott front of mine? Because

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Speaker 2: this is someone you have and you have a dialogue

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Speaker 2: with friendship and working dialogue with, like how how does.

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Speaker 4: That work well? First of all, even just to give

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Speaker 4: your audience some context for us, we were babies when

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Speaker 4: we all met, and you were even more babies when

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Speaker 4: you guys became superstars. So it's kind of crazy that

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Speaker 4: it was on the Paramount lot. I think lot some

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Speaker 4: of us met me and Kevin maybe we met right

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Speaker 4: before that at Adam Savanni's house or something like, Yeah,

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Speaker 4: I played Moose and step up to the Street, which

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Speaker 4: was my first first movie. And then all my friends

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Speaker 4: Harry Shum got onto this show called Glee, this pilot

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Speaker 4: that everyone was on. Danny my ad for my first

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Speaker 4: movie was also the eight There and Zach and all

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Speaker 4: these people. And suddenly and I was editing g I Joe,

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Speaker 4: Oh no, maybe I was editing Justin Bieber never Yes

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Speaker 4: on the lot, on the Paramount lot, and they are

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Speaker 4: these group of crazy kids running around shooting, shooting a show.

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Speaker 4: I was like, what is going on? And then it

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Speaker 4: becomes this massive hit. Of course I watched it on

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Speaker 4: that what was at a Super Bowl Sunday the PHO,

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Speaker 4: watched everybody wait for the whole summer for this show

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Speaker 4: to come out. It was just so I will never

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Speaker 4: forget the joy and the excitement of this new show

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Speaker 4: with these new this new generation of people that were

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Speaker 4: going to show us how musical theaters have done. And

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Speaker 4: I was I just I always think, to me, watching

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Speaker 4: that become so mainstream and so beloved showed me that

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Speaker 4: this was like that it was still in our blood here. Yeah,

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Speaker 4: like have joy and root for each other and be

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Speaker 4: silly and funny all the things and be serious about

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Speaker 4: real things. That the combination was so cool. And then

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Speaker 4: to watch you guys grow as people and have your

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Speaker 4: own families and the things, and and it was just

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Speaker 4: it's just been like, really, when you talk about people,

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Speaker 4: I think about that a lot. Gus we're supportive of

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Speaker 4: each other and they're for each other. And and I

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Speaker 4: watched just from the other side of the door, you

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Speaker 4: guys do all that. I love that a lot of

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Speaker 4: those people are part of my family too.

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Speaker 2: Likewise, like I mean, we I think we met during

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Speaker 2: the Adam and Miley like dance battle. Yeah, we had

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Speaker 2: a YouTube dance YouTube dance because I was really close

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Speaker 2: with Adam's brother v. We're in a boy band together

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Speaker 2: and a great band. Oh yeah, And so I met

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Speaker 2: you through you filming dance, do you know what I mean?

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Speaker 2: Like to me, your storytelling has always been like music driven. Yeah,

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Speaker 2: And so like on the flip side, we've all gotten

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Speaker 2: to watch you like go from project to project and

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Speaker 2: see your growth and see your family grow, and it's

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Speaker 2: been like this wonderful, like beautiful experience and also something

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Speaker 2: for all of us to be so proud of where

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Speaker 2: it feels like like one of us, you know. And yeah,

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Speaker 2: also because like you're just I know, people see you

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Speaker 2: and you're like, he's this big, huge director, which you are,

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Speaker 2: but also you're just like the kindest, like normal, approachable human,

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Speaker 2: which I also think is really just lovely to see.

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Speaker 2: And I think you also see that reflected in like

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Speaker 2: the crazy media press tours of it all how which

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Speaker 2: also goes back to you know, my original question about

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Speaker 2: like collaboration. Because you're at the top, you set the

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Speaker 2: tone for everything, and just knowing you as a human,

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Speaker 2: it makes so much sense to me of why everybody

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Speaker 2: feels this way. Yeah, sort of under your stewardship. But

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Speaker 2: you know, I've never been and I I haven't directed

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Speaker 2: a huge studio films, and so I know things start

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Speaker 2: at the top and you hope they trickle down, but

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Speaker 2: I'm not sure what the intentional or not that process.

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Speaker 4: It's yeah, it's intentional. Yes, it's intentional because in order

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Speaker 4: from what I found is that I work best when

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Speaker 4: there isn't people trying to crowd the court. I've discovered

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Speaker 4: through all these years that when everybody when there's when

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Speaker 4: someone who takes like the oxygen out of the room

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Speaker 4: in a bad way or an ego way, or distrustful way.

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Speaker 4: I don't. I can't step in like I don't have

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Speaker 4: like I don't think it's worth it. I'm like, I

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Speaker 4: have my ideas, and I hope people like want these ideas,

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Speaker 4: and I'm going to go give it to you. And

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Speaker 4: I work best when when I have an environment of

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Speaker 4: people like John, what do you What do you have

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Speaker 4: to say? Like, let's open up the court for you

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Speaker 4: and go run. It's like Forrest Gump, like just go John,

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Speaker 4: and I can do that. But when people are blocking

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Speaker 4: and they don't, they're taking the space. I don't take

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Speaker 4: the space. So I've just learned to like And doesn't

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Speaker 4: mean I find people that don't say anything or something.

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Speaker 4: I find people who don't feel threatened by hearing other

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Speaker 4: ideas but also have a vision and who are not pushovers,

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Speaker 4: because I don't like someone who just floats anyway. I

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Speaker 4: want you don't want a yes man. I don't want

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Speaker 4: a yes man. I want people who love what they do.

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Speaker 4: That's probably the number one thing that you love what

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Speaker 4: you do. You'd willing to stay up four in the

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Speaker 4: morning or get up at four in the morning just

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Speaker 4: to do it because it's your life's dream. And we

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Speaker 4: get to do this and you recognize that this is

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Speaker 4: it that we have in our life, because that also

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Speaker 4: makes feels my passion because I love what we get

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Speaker 4: to do. And so I start there like who we

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Speaker 4: bring in got to be the best of the best.

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Speaker 4: There's no compromise of that. But you also have to

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Speaker 4: love it. It can't be some other obsession. It has

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Speaker 4: to be this. And then we start communicating at our

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Speaker 4: currency level. So I when I meet someone or I

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Speaker 4: bring them in, I need to understand that we that

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Speaker 4: we don't have to have the same currency of why

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Speaker 4: we're here, but we have to. I have to understand

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Speaker 4: that what I want or what I'm aiming for fulfills

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Speaker 4: or is in parallel or whatever cross sections your currency

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Speaker 4: for why you're doing it. Why do you want to

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Speaker 4: do this? What do you need from this when you

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Speaker 4: come out of this, Oh, Cynthia, you want to try

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Speaker 4: something new, put on a new thing, or go worldwide

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Speaker 4: or whatever it may be. Does that cross over with

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Speaker 4: my vision of retelling the American fairy tale and questioning that, Oh, yes,

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Speaker 4: you want to talk about it in this way, but

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Speaker 4: I want to talk about Okay, So the combination is

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Speaker 4: going to be really interesting and you are Brande. Oh

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Speaker 4: you've never let a movie before. Okay, I've directed people

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Speaker 4: who haven't done it. I know the difficulties of that.

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Speaker 4: I know how to protect you. But I also know

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Speaker 4: that you have to be ready for this. Can I

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Speaker 4: see those little do I? Can I see the hints

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Speaker 4: of knowing that she can be ready for this? Away

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Speaker 4: she wait ready for this. It's like old baby. Yeah,

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Speaker 4: and then we can work together to find that and

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Speaker 4: so anyway that that's where it starts. And and then

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Speaker 4: when we go I'm like, I love to visualize and communicate.

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Speaker 4: It's always communication. That's number one when we're making a creative, collaborative,

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Speaker 4: giant project. And so I fill rooms with with with words,

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Speaker 4: with images, with models, with videos that I'm always cutting together,

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Speaker 4: so everyone has as much of stuff in the digital

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Speaker 4: soup and in the physical soup as possible. So whatever

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Speaker 4: we're every and I give a lot of people freedom

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Speaker 4: to yes and everything. I tries to say no as

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Speaker 4: little as possible, just to like see where we go. Yeah,

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Speaker 4: then we can then we can really minimize and and

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Speaker 4: and actually like focus and have clarity on what we're

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Speaker 4: trying to say.

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Speaker 2: Yeah, yeah, Wow. When you're like planning something that is

404
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Speaker 2: this big, Yeah, as is bohemous. What is the I

405
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Speaker 2: guess maybe like the workflow for you in terms of

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Speaker 2: when you're getting what's coming up first? I guess right,

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Speaker 2: like the production design is casting is figuring out where

408
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Speaker 2: you're going to shoot this damp thing?

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Speaker 4: Like what?

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Speaker 2: And are all these things happening happening simultaneously or is

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Speaker 2: there like a process for you in which I need

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Speaker 2: to know this before I can do this, and I

413
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Speaker 2: need to know that before that.

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Speaker 4: Yeah, at a certain point, things are happening all the

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Speaker 4: same time. But but but in terms of layering, it

416
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Speaker 4: starts with the script. Like I get on board, they

417
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Speaker 4: call me, they what do you think about Wicked? I

418
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Speaker 4: was like, yeah, I'm down.

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Speaker 2: Yeah, so you approached about it because there's been so

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Speaker 2: many you know, like almost it's almost happened so many times. Yes, yes,

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Speaker 2: And then like ring ring, I was watching those.

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Speaker 4: Same articles and reading those things that I actually I

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Speaker 4: actually email my my team like what's going on with Wicked? Dude?

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Speaker 4: They keep missing these dates and I want to see

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Speaker 4: that movie. And by the way, is that a sign

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Speaker 4: that they're having trouble? Because I know how to make

427
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Speaker 4: this movie? I know exactly what to do, Like I

428
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Speaker 4: knew I knew what this movie was since I first

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Speaker 4: saw it.

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Speaker 2: What was that feeling? Like, what was the thing?

431
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Speaker 4: Like?

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Speaker 2: This is how, this is how I would do it.

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Speaker 2: I know your way into it.

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Speaker 4: My way into what it was. It was so much

435
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Speaker 4: the relationship between these two women. I mean, that's obvious now,

436
00:23:23,000 --> 00:23:24,280
Speaker 4: but when I first saw it was before I was

437
00:23:24,280 --> 00:23:26,679
Speaker 4: on Broadway, and it was so clearly, like, Wow, that

438
00:23:26,760 --> 00:23:31,880
Speaker 4: is so smart that you're reinventing the American fairy tale

439
00:23:32,040 --> 00:23:34,720
Speaker 4: from the inside out through the relationship of these two women,

440
00:23:34,760 --> 00:23:39,840
Speaker 4: of bringing two very different women together and finding their

441
00:23:39,880 --> 00:23:43,000
Speaker 4: power together. And I'm like me being in college at

442
00:23:43,040 --> 00:23:45,200
Speaker 4: the time that I watched it, going through film school,

443
00:23:45,280 --> 00:23:48,840
Speaker 4: I under and letting go of my childhood American fairy

444
00:23:48,880 --> 00:23:51,600
Speaker 4: Tale of the Wizard of Oz and ushering in a

445
00:23:51,680 --> 00:23:55,399
Speaker 4: new idea of friendship. What happened to those friends that

446
00:23:55,440 --> 00:23:57,119
Speaker 4: you had for all those years? What happened to the

447
00:23:57,119 --> 00:23:59,480
Speaker 4: person you were all those years who you're turning into.

448
00:24:00,119 --> 00:24:03,600
Speaker 4: What is the new? Do you still have that optimism

449
00:24:03,880 --> 00:24:07,320
Speaker 4: or is the world actually way different than what you

450
00:24:07,359 --> 00:24:09,399
Speaker 4: thought and you're going to change because of it? Like

451
00:24:09,560 --> 00:24:11,679
Speaker 4: all those questions were happening at the same time, and

452
00:24:11,960 --> 00:24:14,320
Speaker 4: a musical form. And I was going to film school,

453
00:24:14,359 --> 00:24:16,760
Speaker 4: so I saw the shots. I saw the world of

454
00:24:17,400 --> 00:24:19,879
Speaker 4: Oz is not a dream. It's a real physical place,

455
00:24:19,920 --> 00:24:23,200
Speaker 4: and these are real relationships, and like, let's get in,

456
00:24:23,359 --> 00:24:24,200
Speaker 4: let's get in, like.

457
00:24:24,240 --> 00:24:28,800
Speaker 2: To make it into your head already, Yeah, and never

458
00:24:28,840 --> 00:24:30,960
Speaker 2: thinking in a weird way more like a fan fiction

459
00:24:31,040 --> 00:24:35,760
Speaker 2: thing that would be so cool, right, yeah, but like

460
00:24:35,800 --> 00:24:38,359
Speaker 2: it's probably your subconscious over all those years.

461
00:24:38,400 --> 00:24:42,080
Speaker 4: It's like, and the idea of a musical as the biggest,

462
00:24:42,119 --> 00:24:45,840
Speaker 4: most epic musical ever created by Hollywood, Like yeah, like

463
00:24:45,960 --> 00:24:49,560
Speaker 4: show that we still can do it and use visual

464
00:24:49,560 --> 00:24:56,639
Speaker 4: effects and sets and stunts and live singing in ways

465
00:24:56,680 --> 00:24:59,840
Speaker 4: that we can give theater to everybody, but also cinema

466
00:24:59,880 --> 00:25:03,040
Speaker 4: to everybody. That all of them are like one upping

467
00:25:03,040 --> 00:25:06,680
Speaker 4: each other and and as big as any and as

468
00:25:06,680 --> 00:25:09,320
Speaker 4: big a swing as any musical ever had. Yeah, to me,

469
00:25:09,480 --> 00:25:11,639
Speaker 4: like that was that was And they came to me

470
00:25:11,760 --> 00:25:16,320
Speaker 4: during COVID lockdown, So in a way, we didn't even

471
00:25:16,359 --> 00:25:21,120
Speaker 4: know if movies were going to be made anymore.

472
00:25:19,320 --> 00:25:20,560
Speaker 2: Like, are people are ever going to go back to

473
00:25:20,600 --> 00:25:21,200
Speaker 2: the movie theater?

474
00:25:21,359 --> 00:25:26,040
Speaker 4: Yeah, go for it. John. Let's see, we think we

475
00:25:26,040 --> 00:25:29,120
Speaker 4: think musicals are dead, we think movies are dead. We're

476
00:25:29,160 --> 00:25:31,560
Speaker 4: not sure we all going to touch each other or see

477
00:25:31,520 --> 00:25:33,160
Speaker 4: each other again, but if you want to try.

478
00:25:33,640 --> 00:25:35,679
Speaker 2: It was also that weird era like right after that,

479
00:25:35,720 --> 00:25:39,600
Speaker 2: where there are a couple like musicals that like people

480
00:25:39,680 --> 00:25:43,400
Speaker 2: weren't advertising as musicals. Yeah, you know, there's like that

481
00:25:43,440 --> 00:25:45,400
Speaker 2: whole thing where it's like what is everybody doing?

482
00:25:45,720 --> 00:25:47,680
Speaker 4: Yeah, I do have I do have a philosophy about

483
00:25:47,720 --> 00:25:50,600
Speaker 4: that though, because we advertise musicals and so there is

484
00:25:50,640 --> 00:25:53,840
Speaker 4: an issue. There is an actual physical issue because every

485
00:25:53,840 --> 00:25:56,199
Speaker 4: time I'm like, guys, show all the music, and like

486
00:25:56,400 --> 00:25:59,120
Speaker 4: you try to do all the music because it's getting crazy.

487
00:25:59,640 --> 00:26:03,080
Speaker 4: Change is lyrics. If you try to do like like

488
00:26:03,800 --> 00:26:07,280
Speaker 4: trailers have to be so ancise. The moment you put

489
00:26:07,280 --> 00:26:09,359
Speaker 4: a song in, you better stick to that song a

490
00:26:09,359 --> 00:26:13,480
Speaker 4: little longer, just switch, and the moment you switch, it's

491
00:26:13,480 --> 00:26:15,800
Speaker 4: like mayhem, and then the words better be right and

492
00:26:15,840 --> 00:26:17,760
Speaker 4: they're not always in the right place. So there is

493
00:26:17,800 --> 00:26:20,600
Speaker 4: an actual technical that we never talked about because.

494
00:26:22,040 --> 00:26:25,600
Speaker 2: Let the people know, this is my soapbox.

495
00:26:26,600 --> 00:26:29,639
Speaker 4: Hey, it's way more difficult. You can put a dance

496
00:26:29,880 --> 00:26:33,480
Speaker 4: movement in something fine sure, but actually physically a person.

497
00:26:33,880 --> 00:26:37,240
Speaker 4: You know, in trailers, we're constantly cutting different things together

498
00:26:37,280 --> 00:26:42,560
Speaker 4: and different word together to give a cohesive, simplified idea

499
00:26:42,600 --> 00:26:45,359
Speaker 4: of the movie. That people get it when you have songs,

500
00:26:45,440 --> 00:26:48,840
Speaker 4: they're just not that like concise.

501
00:26:49,320 --> 00:26:52,960
Speaker 2: Yeah, sorry, it's fair. That makes a lot of sense.

502
00:26:53,600 --> 00:26:56,320
Speaker 4: Yes, that's why, like we have we actually have a couple.

503
00:26:56,920 --> 00:27:00,680
Speaker 4: If you watch the Wicked trailer evolution, there are some

504
00:27:01,359 --> 00:27:03,119
Speaker 4: that we just were like, okay, now let's do the

505
00:27:03,200 --> 00:27:05,080
Speaker 4: version where we just do all the music and it's

506
00:27:05,119 --> 00:27:08,600
Speaker 4: like one actually I thought went really well and I

507
00:27:08,680 --> 00:27:10,760
Speaker 4: was like, that's actually awesome. But you have to have

508
00:27:11,160 --> 00:27:14,679
Speaker 4: such a talented music editor in your and that's not

509
00:27:14,760 --> 00:27:16,320
Speaker 4: part of the movie. This is part of a whole

510
00:27:16,400 --> 00:27:19,760
Speaker 4: nother department of market. Yeah, all these companies. Yeah, that's

511
00:27:19,800 --> 00:27:23,399
Speaker 4: someone who really understands it, and the composer has to

512
00:27:23,440 --> 00:27:28,879
Speaker 4: approve it. The original composer, Stephen Schwartz, doesn't like, sorry,

513
00:27:29,040 --> 00:27:30,960
Speaker 4: you guys, start over and you just spent six weeks

514
00:27:32,720 --> 00:27:35,920
Speaker 4: so Steven anyway, it's a.

515
00:27:35,880 --> 00:27:41,280
Speaker 1: Lot, guys, every piece, every piece is that The.

516
00:27:41,280 --> 00:27:43,720
Speaker 4: Thing about a musical is that people don't realize the

517
00:27:43,760 --> 00:27:48,280
Speaker 4: technical how technical it really is. Because if you're doing

518
00:27:48,359 --> 00:27:50,439
Speaker 4: the musical right, it's supposed to look really easy. It's

519
00:27:50,440 --> 00:27:53,919
Speaker 4: supposed to never look sweaty, almost not be a musical

520
00:27:53,960 --> 00:27:57,959
Speaker 4: at all. You just feel it, every ounce of it,

521
00:27:58,040 --> 00:28:01,960
Speaker 4: every rhythm, every can ruin it, every sound effect. How

522
00:28:02,040 --> 00:28:04,000
Speaker 4: much folly do you hear when they close the door

523
00:28:04,359 --> 00:28:06,359
Speaker 4: and they're singing the song, or do you not do

524
00:28:06,480 --> 00:28:09,360
Speaker 4: that at all? And every filmmaker has their own philosophy

525
00:28:09,400 --> 00:28:11,760
Speaker 4: about that. You guys on the show had a philosophy

526
00:28:11,800 --> 00:28:14,439
Speaker 4: at how sound and music should play together or how

527
00:28:14,520 --> 00:28:17,760
Speaker 4: reality and those things relat together. And every filmmaker has

528
00:28:17,800 --> 00:28:19,720
Speaker 4: to make that choice, if they even know they had

529
00:28:19,760 --> 00:28:21,440
Speaker 4: to make that choice. Some people who are starting a

530
00:28:21,520 --> 00:28:23,600
Speaker 4: musical have never made a musical. Suddenly you're in it

531
00:28:23,640 --> 00:28:25,520
Speaker 4: and you're like, oh that, there's not like a rule.

532
00:28:25,800 --> 00:28:27,280
Speaker 4: You're like, no, it's like, how what do you go?

533
00:28:28,240 --> 00:28:30,040
Speaker 2: It's a taste. It's a taste level thing.

534
00:28:30,320 --> 00:28:32,600
Speaker 4: Yes, and sometimes it takes you a whole movie to

535
00:28:32,640 --> 00:28:35,359
Speaker 4: figure out what your taste or what your strategy is

536
00:28:35,359 --> 00:28:36,840
Speaker 4: with this, and that by the end you're like, oh,

537
00:28:36,840 --> 00:28:39,040
Speaker 4: I'm done, i gotta do another one. And then people

538
00:28:39,040 --> 00:28:40,520
Speaker 4: don't do another one because they're too scared.

539
00:28:40,680 --> 00:28:43,360
Speaker 2: Yeah, I was actually thinking about those little things you

540
00:28:43,360 --> 00:28:47,160
Speaker 2: were saying about sound. So you and I ran into

541
00:28:47,200 --> 00:28:50,040
Speaker 2: you and Chris at the Grove when Wicked came out

542
00:28:50,120 --> 00:28:53,280
Speaker 2: last year, and I remember you ran. You ran out

543
00:28:53,280 --> 00:28:55,560
Speaker 2: of the theater because you wanted to like adjust the

544
00:28:55,560 --> 00:28:57,920
Speaker 2: sound because it was quiet. For the record, I think

545
00:28:57,960 --> 00:29:01,960
Speaker 2: the Grove has terrible sound anyway, they always have. But

546
00:29:02,200 --> 00:29:02,920
Speaker 2: you don't have to say that.

547
00:29:03,000 --> 00:29:04,320
Speaker 1: I was saying, I.

548
00:29:06,200 --> 00:29:09,360
Speaker 2: Never go to that theater. That was the one time

549
00:29:09,920 --> 00:29:12,080
Speaker 2: I went to that theater because I already had tickets

550
00:29:12,080 --> 00:29:15,880
Speaker 2: with my friends. But I boycott that location anyway. But

551
00:29:16,280 --> 00:29:17,640
Speaker 2: I when I went to see it in New York

552
00:29:18,840 --> 00:29:21,000
Speaker 2: at a different AMC, and the sound was great, and

553
00:29:21,080 --> 00:29:24,000
Speaker 2: I was thinking about and no, good deed, there's so

554
00:29:24,080 --> 00:29:26,680
Speaker 2: much going on. There's so much you know, sound effects

555
00:29:26,760 --> 00:29:31,640
Speaker 2: and fully things happening, but you can still hear every

556
00:29:31,960 --> 00:29:36,440
Speaker 2: every instrument, Cynthia's voice coming through and like that perfect balance.

557
00:29:36,720 --> 00:29:38,640
Speaker 2: I was like, oh, I don't know what John's on,

558
00:29:39,320 --> 00:29:43,040
Speaker 2: but whatever is happening, it is all sounding correct in

559
00:29:43,080 --> 00:29:45,920
Speaker 2: my ears like it is. I'm seeing and hearing every

560
00:29:45,960 --> 00:29:46,520
Speaker 2: single thing.

561
00:29:47,000 --> 00:29:51,719
Speaker 4: Yeah, thank you. Yeah, that's our mixed team is amazing,

562
00:29:51,800 --> 00:29:58,920
Speaker 4: Andy Nelson, Simon Hayes, who's recording the live, actual singing live, unreal,

563
00:29:59,560 --> 00:30:02,520
Speaker 4: and are John Marcus are mixed everybody, and we're all

564
00:30:02,520 --> 00:30:04,760
Speaker 4: in the room together, and we already because we did

565
00:30:04,760 --> 00:30:07,640
Speaker 4: in the Heights, we already have a full philosophy about

566
00:30:07,680 --> 00:30:09,040
Speaker 4: how much we want to hear. I want it to

567
00:30:09,080 --> 00:30:10,760
Speaker 4: feel real. I want to feel like it's emerging from

568
00:30:11,280 --> 00:30:14,200
Speaker 4: from a from a person's so it feels like dialogue,

569
00:30:14,200 --> 00:30:17,040
Speaker 4: but of course it escalates again, so and then how

570
00:30:17,120 --> 00:30:20,000
Speaker 4: much the wing flaps interrupts her lyrics or things like that.

571
00:30:20,000 --> 00:30:21,920
Speaker 4: That's but I also know how important it is to

572
00:30:21,960 --> 00:30:24,040
Speaker 4: hear those lyrics. There's one lyric in there that I

573
00:30:24,040 --> 00:30:27,360
Speaker 4: wish it was more clear, but we look went through

574
00:30:27,400 --> 00:30:30,320
Speaker 4: all the live versions and couldn't get quite the clarity,

575
00:30:30,360 --> 00:30:36,200
Speaker 4: and so you know, we're just eking it in. But yeah, anyway, yeah,

576
00:30:36,240 --> 00:30:38,280
Speaker 4: so it's a constant, constant tweaking there.

577
00:30:47,120 --> 00:30:49,640
Speaker 1: Obviously, you have like two of the best singers in

578
00:30:49,640 --> 00:30:52,520
Speaker 1: the world who led this with you.

579
00:30:52,600 --> 00:30:55,680
Speaker 3: Yeah, I know, it's just like it's not important at all,

580
00:30:55,720 --> 00:31:00,800
Speaker 3: but no, they absolutely truly incredible, And so I know

581
00:31:00,840 --> 00:31:04,280
Speaker 3: that they've spoken about this in press where you guys

582
00:31:04,320 --> 00:31:06,160
Speaker 3: made the decision that you were going to sing live,

583
00:31:06,640 --> 00:31:09,640
Speaker 3: So was there in your mind was there any other

584
00:31:09,840 --> 00:31:12,120
Speaker 3: option before they were cast where you're like, oh, we

585
00:31:12,200 --> 00:31:15,120
Speaker 3: might have to pre record this, or were you open

586
00:31:15,200 --> 00:31:17,800
Speaker 3: to the pre recording or were you passionate about the

587
00:31:17,840 --> 00:31:21,760
Speaker 3: live being element being there because of you know, the

588
00:31:21,760 --> 00:31:25,200
Speaker 3: performances as it's been done before in other movie musicals.

589
00:31:25,840 --> 00:31:29,320
Speaker 4: Yeah, when we were doing In the Heights and we're

590
00:31:29,360 --> 00:31:33,600
Speaker 4: shooting here in Washington Heights, it was a beautiful experience

591
00:31:33,600 --> 00:31:35,920
Speaker 4: because I have nothing against pre records, like I love

592
00:31:35,960 --> 00:31:39,360
Speaker 4: pre records. If the intention of the scene is in

593
00:31:39,400 --> 00:31:41,920
Speaker 4: the pre record, there's a version of the pre record

594
00:31:41,960 --> 00:31:43,520
Speaker 4: that you do before you even start. That's part of

595
00:31:43,520 --> 00:31:45,120
Speaker 4: the rehearsals and part of the things. And then you

596
00:31:45,200 --> 00:31:47,560
Speaker 4: discover what you're doing, and then you should record re

597
00:31:47,560 --> 00:31:50,320
Speaker 4: record that. Yes, oh yeah, the money to rerecord it,

598
00:31:50,360 --> 00:31:52,400
Speaker 4: you should be doing that, yea. And I think sometimes

599
00:31:52,400 --> 00:31:56,280
Speaker 4: people don't do that, and so then you feel that separation. Yeah,

600
00:31:56,280 --> 00:32:00,320
Speaker 4: but in the Heights, we would rerecord it every few

601
00:32:00,320 --> 00:32:03,840
Speaker 4: weeks because our guys are in rehearsals, things would change

602
00:32:04,040 --> 00:32:07,400
Speaker 4: and so it stayed in parallel with us. And then

603
00:32:07,440 --> 00:32:09,880
Speaker 4: when we're on set. What we realized is there's nothing.

604
00:32:10,760 --> 00:32:13,880
Speaker 4: It's hard to do live because there's buses and cars

605
00:32:13,920 --> 00:32:16,160
Speaker 4: and people that don't give us here in New York

606
00:32:16,200 --> 00:32:18,840
Speaker 4: that you're shooting a musical. And yeah, so it was

607
00:32:18,880 --> 00:32:21,520
Speaker 4: really hard to do live all the time. But there

608
00:32:21,520 --> 00:32:23,280
Speaker 4: were moments where we got to do it, or when

609
00:32:23,320 --> 00:32:25,080
Speaker 4: we felt like it was clear enough and you could

610
00:32:25,360 --> 00:32:28,120
Speaker 4: you could record and see and get and possibly get

611
00:32:28,160 --> 00:32:30,560
Speaker 4: something from this. And that was an amazing experience, which

612
00:32:30,600 --> 00:32:33,160
Speaker 4: meant we have We had a pianist every day on

613
00:32:33,240 --> 00:32:35,360
Speaker 4: set ready to go, and we did more live than

614
00:32:35,400 --> 00:32:38,800
Speaker 4: I expected in here in Washing Heights, on the streets

615
00:32:38,840 --> 00:32:40,960
Speaker 4: and suddenly you're singing in the middle of a sidewalk

616
00:32:41,120 --> 00:32:43,680
Speaker 4: or in a subway and there's a live pianist and

617
00:32:43,720 --> 00:32:45,480
Speaker 4: your everyone's and no one can hear it, and you're

618
00:32:45,520 --> 00:32:47,560
Speaker 4: just hearing the vocals, but you could hear it in

619
00:32:47,600 --> 00:32:51,400
Speaker 4: your ears, the on your on your calms to the

620
00:32:51,680 --> 00:32:54,960
Speaker 4: pianists and her or him and I and I always

621
00:32:55,040 --> 00:32:57,000
Speaker 4: loved that. I felt like that's where we were getting

622
00:32:57,000 --> 00:32:59,920
Speaker 4: the juice. And so with these these ladies of course

623
00:33:00,040 --> 00:33:01,600
Speaker 4: coming in, I was like, they can do it, and

624
00:33:01,600 --> 00:33:04,160
Speaker 4: we're on sound stages essentially like we're not going.

625
00:33:03,960 --> 00:33:05,200
Speaker 2: To a placement.

626
00:33:05,280 --> 00:33:07,760
Speaker 4: Yeah, you try it, but I don't. I don't know

627
00:33:07,800 --> 00:33:12,360
Speaker 4: how they feel. They may want their their vocals super pristine,

628
00:33:12,400 --> 00:33:14,080
Speaker 4: and we're just gonna have to do what we did

629
00:33:14,120 --> 00:33:17,520
Speaker 4: and in the heights where we just keep re recording

630
00:33:17,560 --> 00:33:19,280
Speaker 4: until we find the right one and maybe even after

631
00:33:19,360 --> 00:33:21,760
Speaker 4: once we shot the scene, we recorded again. So that

632
00:33:21,840 --> 00:33:25,360
Speaker 4: was the technique we began with record the pre records

633
00:33:25,400 --> 00:33:27,440
Speaker 4: when they first arrived because I wanted They had never

634
00:33:27,480 --> 00:33:30,920
Speaker 4: gone through Wicked School with Stephen Schwartz and Steven Arimas,

635
00:33:31,120 --> 00:33:34,800
Speaker 4: so I go through Wicked School. Just just do it.

636
00:33:34,960 --> 00:33:36,800
Speaker 4: Just get to know them. I we will. We have

637
00:33:36,880 --> 00:33:38,880
Speaker 4: not even had rehearsals yet, so then you come to

638
00:33:38,920 --> 00:33:41,120
Speaker 4: me and then we'll discover the character. So just take

639
00:33:41,160 --> 00:33:44,920
Speaker 4: it as like a physical, uh, muscle memory exercise. And

640
00:33:44,960 --> 00:33:47,400
Speaker 4: they did that with Stephen and Stephen, and then they

641
00:33:47,440 --> 00:33:51,840
Speaker 4: also did muscle movement exercises with Chris Scott to just

642
00:33:51,920 --> 00:33:54,479
Speaker 4: get movement in and so he could assess what they

643
00:33:54,520 --> 00:33:57,680
Speaker 4: can or cannot do. He's getting languages from them, like

644
00:33:57,880 --> 00:34:01,000
Speaker 4: movement languages of where they're thinking. Even though none of

645
00:34:01,000 --> 00:34:02,600
Speaker 4: them have talked to me. Yet. I mean we've met,

646
00:34:02,600 --> 00:34:04,920
Speaker 4: but not really. Like then we got into a room

647
00:34:04,960 --> 00:34:07,000
Speaker 4: and we start Then me and the girls start working

648
00:34:07,040 --> 00:34:09,120
Speaker 4: on these scenes and we start to discover these characters

649
00:34:09,160 --> 00:34:15,239
Speaker 4: and we're like, oh, actually, yeah, Alphabet actually moves more

650
00:34:15,320 --> 00:34:17,400
Speaker 4: than we expect from the Wicked Witch to the West.

651
00:34:17,880 --> 00:34:21,360
Speaker 4: She actually has more dignity for herself than you think

652
00:34:21,360 --> 00:34:23,600
Speaker 4: in the joke of the Wicked Witch of the West.

653
00:34:23,680 --> 00:34:27,480
Speaker 4: Because since it's bringing that, okay, that means her movement

654
00:34:27,600 --> 00:34:29,799
Speaker 4: is different. So bring that to your rehearsals next time

655
00:34:29,800 --> 00:34:31,160
Speaker 4: and let me all come in there and make sure

656
00:34:31,200 --> 00:34:33,480
Speaker 4: he understands what we're trying to talk about here. Yeah,

657
00:34:33,520 --> 00:34:35,920
Speaker 4: and bring that into the show. Oh, Steven's trying to

658
00:34:35,960 --> 00:34:39,000
Speaker 4: push you to be have that cackle, but actually that

659
00:34:39,040 --> 00:34:41,640
Speaker 4: cackle should come from a place of joy actually, and

660
00:34:41,680 --> 00:34:43,840
Speaker 4: that it's like it's like a laugh that you're a

661
00:34:43,840 --> 00:34:47,440
Speaker 4: belly laugh. So like, rather than the iconic laugh, do

662
00:34:47,480 --> 00:34:49,880
Speaker 4: the belly laugh version, and so let me talk to Steven.

663
00:34:49,920 --> 00:34:52,320
Speaker 4: So we do it step by step as we build

664
00:34:52,360 --> 00:34:54,800
Speaker 4: both and so by the time we actually get to set,

665
00:34:54,960 --> 00:34:57,280
Speaker 4: we know all of it. We probably haven't re recorded

666
00:34:57,280 --> 00:35:00,239
Speaker 4: that voice, and so we were like, let's just record

667
00:35:00,320 --> 00:35:02,319
Speaker 4: it live. We have the best Simon Hayes, the best

668
00:35:02,880 --> 00:35:06,640
Speaker 4: recorder is, you know, on set for live stuff. He

669
00:35:06,640 --> 00:35:08,239
Speaker 4: did le Mis, he did all these things, so he's like,

670
00:35:08,239 --> 00:35:10,680
Speaker 4: I could do it, John. So he's hiding mics in

671
00:35:10,719 --> 00:35:14,239
Speaker 4: their hats, and sometimes we have mics on their skin

672
00:35:14,280 --> 00:35:17,520
Speaker 4: because there's no clothes up here, and we're just painting

673
00:35:17,600 --> 00:35:19,839
Speaker 4: those out later. So we're trying to get the clearest sound,

674
00:35:19,840 --> 00:35:22,319
Speaker 4: and sometimes that's annoying. Sometimes the girls are like I

675
00:35:22,320 --> 00:35:24,319
Speaker 4: can feel the weight, and you're like, I know, but

676
00:35:24,360 --> 00:35:26,560
Speaker 4: we're doing this live, like I need a mic somewhere,

677
00:35:27,080 --> 00:35:30,520
Speaker 4: and so we're constantly trying to figure things out, and

678
00:35:30,520 --> 00:35:32,919
Speaker 4: then you record it and you realize, oh, the live

679
00:35:33,040 --> 00:35:36,560
Speaker 4: version is absolutely one that's connecting. Let's just do it

680
00:35:36,600 --> 00:35:38,360
Speaker 4: the next day. Let's do it the next day. And

681
00:35:38,360 --> 00:35:40,759
Speaker 4: by the end you're like, nobody wants to do it

682
00:35:40,800 --> 00:35:45,120
Speaker 4: not live. Yeah, you always have the option. Yeah. To me,

683
00:35:45,200 --> 00:35:47,440
Speaker 4: I'm like, I never if you come in sick today,

684
00:35:48,360 --> 00:35:50,359
Speaker 4: I need you next week, don't worry about it. Yeah,

685
00:35:50,400 --> 00:35:52,440
Speaker 4: let's do it and we'll figure it out.

686
00:35:51,880 --> 00:35:52,080
Speaker 3: Yeah.

687
00:35:53,160 --> 00:35:55,239
Speaker 4: So and then I remember happens, to be honest, all

688
00:35:55,280 --> 00:35:57,399
Speaker 4: the fifty something days that we shot.

689
00:35:58,000 --> 00:35:59,959
Speaker 2: Not to get too into the weeds about that, but.

690
00:36:00,520 --> 00:36:02,440
Speaker 4: Actually live they did happen a couple of days that

691
00:36:02,480 --> 00:36:04,480
Speaker 4: they got sick, but they pushed through it and it

692
00:36:04,520 --> 00:36:06,319
Speaker 4: actually helps the performance in a where you could hear

693
00:36:06,400 --> 00:36:06,880
Speaker 4: their voice.

694
00:36:06,920 --> 00:36:09,040
Speaker 2: Yeah, I get that.

695
00:36:09,480 --> 00:36:12,359
Speaker 3: It's so effective. It's effective in every way that they

696
00:36:12,800 --> 00:36:15,640
Speaker 3: showed up. It just it was like the performance when

697
00:36:15,680 --> 00:36:17,840
Speaker 3: you're sick, it doesn't you know, if you're performing, it

698
00:36:18,400 --> 00:36:20,600
Speaker 3: works if you're not, like one hundred and two fevers.

699
00:36:21,120 --> 00:36:22,719
Speaker 2: You have two people like that who are used to

700
00:36:22,760 --> 00:36:24,839
Speaker 2: live performing and probably pushing through those things.

701
00:36:24,920 --> 00:36:26,000
Speaker 4: Yeah, that's true.

702
00:36:26,160 --> 00:36:27,319
Speaker 2: They know how to work around it.

703
00:36:27,760 --> 00:36:28,880
Speaker 1: Like we're not sacking insurance.

704
00:36:29,280 --> 00:36:31,120
Speaker 4: Yeah we did one hundred and sixty shows, we did

705
00:36:31,120 --> 00:36:31,759
Speaker 4: a hundred whatever.

706
00:36:32,600 --> 00:36:33,880
Speaker 1: Yeah, Yeah.

707
00:36:33,920 --> 00:36:36,200
Speaker 2: I like we've been watching a lot of musicals on

708
00:36:36,239 --> 00:36:39,280
Speaker 2: this podcast lately, like different movie musicals, and I'm always

709
00:36:39,280 --> 00:36:41,680
Speaker 2: just fascinated. You don't have to go into two in

710
00:36:41,719 --> 00:36:43,920
Speaker 2: depth about this, but because you answered a lot of it.

711
00:36:44,560 --> 00:36:47,960
Speaker 2: But when you're recording the live, obviously we want the

712
00:36:47,960 --> 00:36:51,000
Speaker 2: live because there's the emotion, the rawness of it, but

713
00:36:51,120 --> 00:36:55,720
Speaker 2: the recording, like the mics you're using themselves obviously different.

714
00:36:55,719 --> 00:36:59,239
Speaker 2: If you're in a recording booth with that sound and

715
00:36:59,280 --> 00:37:02,439
Speaker 2: those mics that are made exactly for that, and you're

716
00:37:02,520 --> 00:37:05,440
Speaker 2: using probably like mics that are maybe made to capture dialogue.

717
00:37:05,440 --> 00:37:08,680
Speaker 2: And then you have Cynthia flying and she's singing, Like

718
00:37:08,840 --> 00:37:11,399
Speaker 2: how are you able to sort of like bridge that

719
00:37:11,480 --> 00:37:15,320
Speaker 2: gap maybe of like having a vocal, a singing vocal

720
00:37:15,440 --> 00:37:18,680
Speaker 2: that still sounds good up against music that is cinema

721
00:37:18,680 --> 00:37:22,279
Speaker 2: worthy and also I think you know still makes the

722
00:37:22,320 --> 00:37:25,240
Speaker 2: audience feel like you do in the theater. For example,

723
00:37:25,239 --> 00:37:28,240
Speaker 2: when she's singing define gravity and you have that emotional reaction,

724
00:37:28,800 --> 00:37:31,399
Speaker 2: which I imagine helps having the live singing because you're

725
00:37:31,400 --> 00:37:33,880
Speaker 2: in a complete crient medium. But like the technicality aspect

726
00:37:33,960 --> 00:37:37,000
Speaker 2: of recording the vocal and then mixing it afterwards to

727
00:37:37,040 --> 00:37:39,200
Speaker 2: make sure it still sounds like studio quality.

728
00:37:39,360 --> 00:37:41,759
Speaker 4: I guess we got Simon Hayes, who's the best of

729
00:37:41,800 --> 00:37:46,360
Speaker 4: the best, and he's also like super militant about the quiet,

730
00:37:46,440 --> 00:37:49,480
Speaker 4: Like there was we be shooting in a warehouse and

731
00:37:49,560 --> 00:37:51,840
Speaker 4: like we're not warehouse of our stage and it's a

732
00:37:51,840 --> 00:37:54,120
Speaker 4: brand new stage and we have this whole jungle that

733
00:37:54,160 --> 00:37:57,680
Speaker 4: we built, so this forest and every time Cynthia would sing,

734
00:37:58,800 --> 00:38:01,200
Speaker 4: you'd hear birds in the right afters they start singing

735
00:38:01,200 --> 00:38:04,040
Speaker 4: because they made nests, and you're like, what the heck

736
00:38:04,120 --> 00:38:05,880
Speaker 4: is that. You're like, oh, these are birds. They only

737
00:38:05,920 --> 00:38:08,400
Speaker 4: sing when Cynthia is singing, which is wow, it's like

738
00:38:08,960 --> 00:38:14,000
Speaker 4: amazing anyway, and so Simon was like, those birds they're

739
00:38:14,040 --> 00:38:16,720
Speaker 4: on your track. We've got to get them off this track.

740
00:38:17,200 --> 00:38:20,000
Speaker 4: And so he started playing these birds of prey sounds.

741
00:38:20,080 --> 00:38:26,200
Speaker 4: He's like, to scare the birds. He's quiet, and Cynthia heard.

742
00:38:26,280 --> 00:38:29,239
Speaker 4: She's like, what the hell is that? And like, that's

743
00:38:29,280 --> 00:38:30,719
Speaker 4: that's We're trying to scare the birds so that they

744
00:38:30,719 --> 00:38:34,239
Speaker 4: don't go on the track. Cleinging tracks just for you.

745
00:38:34,320 --> 00:38:37,080
Speaker 4: And she's like, that will not happen, not on the sets.

746
00:38:37,480 --> 00:38:40,080
Speaker 4: Tell them, do not play those sounds. If they're on

747
00:38:40,120 --> 00:38:41,680
Speaker 4: my track, then God wants them to be on my.

748
00:38:43,200 --> 00:38:44,160
Speaker 2: Nimals do.

749
00:38:45,880 --> 00:38:49,040
Speaker 4: It's in her and the reality is those those birds

750
00:38:49,040 --> 00:38:52,520
Speaker 4: are sometimes on her track. And that's what you can

751
00:38:52,560 --> 00:38:54,120
Speaker 4: get along. You can get away with a lot. You know,

752
00:38:54,280 --> 00:38:57,240
Speaker 4: we also have, you know, our our mixed team after

753
00:38:57,800 --> 00:39:01,440
Speaker 4: you know. I think the hardest part about directing a

754
00:39:01,680 --> 00:39:07,160
Speaker 4: musical is that director's role of pulling the thread through

755
00:39:07,480 --> 00:39:11,080
Speaker 4: is way more important, because a musical walks on this

756
00:39:11,239 --> 00:39:16,480
Speaker 4: fine edge of of permission to do what it does.

757
00:39:17,000 --> 00:39:19,960
Speaker 4: And I won't say cringe because I think that I

758
00:39:20,000 --> 00:39:24,600
Speaker 4: think cringe is a nasty word by pessimists who don't

759
00:39:24,640 --> 00:39:26,880
Speaker 4: want to just see joy. But I will say that

760
00:39:26,920 --> 00:39:31,160
Speaker 4: I understand the that that an audience in a cinema

761
00:39:31,400 --> 00:39:34,840
Speaker 4: has to agree to this, to entering this world of

762
00:39:34,880 --> 00:39:38,239
Speaker 4: the musical, and has to agree to believe in the

763
00:39:38,280 --> 00:39:42,960
Speaker 4: realities of the rules of a musical world, and that

764
00:39:43,040 --> 00:39:46,240
Speaker 4: if you cross that reality, how annoying that can be.

765
00:39:47,080 --> 00:39:49,160
Speaker 4: You have to stick with the things that you you

766
00:39:49,440 --> 00:39:52,800
Speaker 4: had set up in the first ten minutes of the movie.

767
00:39:53,000 --> 00:39:57,080
Speaker 4: And I think that as a director your your movie,

768
00:39:57,280 --> 00:39:59,840
Speaker 4: that line is walked by every element of your movie.

769
00:40:00,040 --> 00:40:01,799
Speaker 4: That's in the color, that's in the costume, that's in

770
00:40:01,840 --> 00:40:05,040
Speaker 4: the pacing of the editing, that's in how where you're

771
00:40:05,040 --> 00:40:08,560
Speaker 4: making cuts, that's in the sound mix of where does

772
00:40:08,560 --> 00:40:10,800
Speaker 4: the instruments feel like they come from, how the entrances

773
00:40:10,800 --> 00:40:13,480
Speaker 4: and exits of those, the transitions of that, that is

774
00:40:14,280 --> 00:40:17,919
Speaker 4: in the actual mix of of of of of the

775
00:40:18,200 --> 00:40:21,520
Speaker 4: urgency of things. It comes in a lot of different forms. Yeah,

776
00:40:21,840 --> 00:40:24,120
Speaker 4: own jokes, how you play jokes, is or winked to

777
00:40:24,160 --> 00:40:26,960
Speaker 4: an audience? Is there not? Or does anybody look at

778
00:40:27,000 --> 00:40:29,319
Speaker 4: the camera? Do we brave that forth? Like, these are

779
00:40:29,360 --> 00:40:33,000
Speaker 4: all things that one misstep and you're and you lose

780
00:40:33,040 --> 00:40:36,600
Speaker 4: the audience really quickly. So you have to pull that thread,

781
00:40:36,880 --> 00:40:39,480
Speaker 4: just just as a medium, the director has to pull

782
00:40:39,520 --> 00:40:42,680
Speaker 4: that thread from the very words on the script all

783
00:40:42,760 --> 00:40:45,920
Speaker 4: the way to the delivery of the color when you're

784
00:40:45,920 --> 00:40:47,960
Speaker 4: color timing, and the and and the coughs that you

785
00:40:48,000 --> 00:40:50,000
Speaker 4: hear in the mix, or the saliva that you hear

786
00:40:50,040 --> 00:40:52,759
Speaker 4: when they singing or or sniffles that they hear when

787
00:40:52,800 --> 00:40:57,040
Speaker 4: they're off camera and crying. That that that alone is

788
00:40:57,640 --> 00:41:01,280
Speaker 4: a big task for that And that's not even talking

789
00:41:01,280 --> 00:41:04,880
Speaker 4: about how you tell the story. That's just technical tone.

790
00:41:05,960 --> 00:41:08,319
Speaker 4: And I'm not even talking about technical like actually tech,

791
00:41:08,360 --> 00:41:11,480
Speaker 4: but like technical as in how you keep the how

792
00:41:11,480 --> 00:41:14,000
Speaker 4: you agree to the rules of this world. Then you

793
00:41:14,000 --> 00:41:16,359
Speaker 4: have to get into the actual storytelling of where you

794
00:41:16,440 --> 00:41:19,840
Speaker 4: pull the audience into the drama or to the comedy

795
00:41:19,840 --> 00:41:23,440
Speaker 4: of it. So anyway, I forget the question, but that's

796
00:41:23,560 --> 00:41:26,560
Speaker 4: great that pull through. I have to know my conversations

797
00:41:26,560 --> 00:41:29,800
Speaker 4: with Cynthia and Ariana in a office building that we

798
00:41:30,080 --> 00:41:33,160
Speaker 4: discussed a certain scene, because if I don't follow through

799
00:41:33,160 --> 00:41:35,160
Speaker 4: with that on the other end, they'll be doing stuff

800
00:41:35,160 --> 00:41:38,040
Speaker 4: that doesn't matter. But if I bring that into the

801
00:41:38,040 --> 00:41:40,759
Speaker 4: mix and say, hey, for good, is something where they're

802
00:41:40,800 --> 00:41:43,719
Speaker 4: actually looking at each other and speaking these things, and

803
00:41:43,760 --> 00:41:46,640
Speaker 4: so let's play it as dialogue. So let's let's minimize

804
00:41:46,680 --> 00:41:49,560
Speaker 4: that orchestration. Even though we have one hundred piece orchestra,

805
00:41:49,520 --> 00:41:51,880
Speaker 4: they have amazing stuff. I want to hear the and

806
00:41:51,960 --> 00:41:55,040
Speaker 4: you would never hear the leaves blow by, but in

807
00:41:55,040 --> 00:41:57,520
Speaker 4: that one space, let the leaves blow by. I want

808
00:41:57,560 --> 00:42:01,160
Speaker 4: to feel the space between them and have that. Let's

809
00:42:01,160 --> 00:42:03,799
Speaker 4: hear the rustling of the branches in there, so we

810
00:42:03,840 --> 00:42:07,040
Speaker 4: can feel the loneliness or whatever like, or feel how

811
00:42:07,120 --> 00:42:09,719
Speaker 4: high they are by the type of winds that you have.

812
00:42:10,000 --> 00:42:12,359
Speaker 4: And so I can conform that because of our conversations

813
00:42:12,400 --> 00:42:15,520
Speaker 4: way back then and anyway, when those things start to

814
00:42:15,520 --> 00:42:19,720
Speaker 4: tie together, it becomes much more cohesive experience that every

815
00:42:19,800 --> 00:42:23,640
Speaker 4: element is carrying you lyrically in this that I think

816
00:42:23,640 --> 00:42:26,400
Speaker 4: it is a musicality, Kevin. I know we talk a

817
00:42:26,400 --> 00:42:29,040
Speaker 4: lot about musicality because I think that's something I discovered

818
00:42:29,160 --> 00:42:32,000
Speaker 4: when working with dancers It's like there are dancers and

819
00:42:32,040 --> 00:42:34,720
Speaker 4: they do things, and some people do tricks and whatever,

820
00:42:35,320 --> 00:42:37,839
Speaker 4: but that's not dancing. To me, Like the highest bar

821
00:42:37,920 --> 00:42:42,040
Speaker 4: of dancing is someone with musicality, because musicality isn't about

822
00:42:42,080 --> 00:42:45,600
Speaker 4: what you're trained to do. It is about interpreting the music,

823
00:42:45,640 --> 00:42:48,640
Speaker 4: and if the music changes, your musicality better change. Otherwise

824
00:42:48,880 --> 00:42:50,440
Speaker 4: what are you doing. You're just doing a routine that

825
00:42:50,480 --> 00:42:53,520
Speaker 4: you learned. But if your dance movement changes because the

826
00:42:53,560 --> 00:42:56,360
Speaker 4: song changes, it means you're connected to that song. And

827
00:42:56,440 --> 00:42:59,360
Speaker 4: I learned to respect that so much working with dancers

828
00:42:59,480 --> 00:43:01,319
Speaker 4: that that's what I look for, number one. And in

829
00:43:01,320 --> 00:43:03,399
Speaker 4: a weird way, I look for that musicality in all

830
00:43:03,440 --> 00:43:06,800
Speaker 4: of life, whether that's an actor or a cinematographer or

831
00:43:06,840 --> 00:43:10,400
Speaker 4: a costume designer, that they are reacting to the fabric

832
00:43:10,480 --> 00:43:12,759
Speaker 4: of the emotion of a scene or of life. The

833
00:43:12,800 --> 00:43:15,120
Speaker 4: messiness of life is well, but they're interpreting and finding

834
00:43:15,160 --> 00:43:17,840
Speaker 4: in their medium. And to me, if I get to

835
00:43:17,840 --> 00:43:20,239
Speaker 4: bring that and connect the dots to that, like that

836
00:43:20,400 --> 00:43:22,160
Speaker 4: is the power of cinema. You get to sit back

837
00:43:22,160 --> 00:43:24,440
Speaker 4: and experience all of those things together in concert.

838
00:43:24,640 --> 00:43:26,640
Speaker 2: Somebody said that because I see that in all your work.

839
00:43:26,840 --> 00:43:29,200
Speaker 2: You've always done that and like how music has always

840
00:43:29,239 --> 00:43:31,719
Speaker 2: led your storytelling in that way, the musicality of it all.

841
00:43:32,200 --> 00:43:35,279
Speaker 1: Yeah, thank you John. Before we let you go, we

842
00:43:35,320 --> 00:43:37,920
Speaker 1: always ask people on the podcast what is the feeling

843
00:43:38,000 --> 00:43:39,919
Speaker 1: that Lee leaves you with? But since we're talking about

844
00:43:39,960 --> 00:43:42,400
Speaker 1: Wicked here, I'm going to ask you what is the

845
00:43:42,440 --> 00:43:43,640
Speaker 1: feeling that Wicked leaves you with?

846
00:43:45,680 --> 00:43:50,520
Speaker 4: Let me answer both, okay, Because I love Glee and

847
00:43:50,560 --> 00:43:54,360
Speaker 4: I love being around you all during that time, and

848
00:43:54,440 --> 00:43:58,960
Speaker 4: there is this this this dreamy aspect of seeing you

849
00:43:59,000 --> 00:44:05,120
Speaker 4: guys walk lunch together with all the pas and the

850
00:44:05,120 --> 00:44:08,640
Speaker 4: golf car going crazy, or you guys in different costumes

851
00:44:08,640 --> 00:44:12,359
Speaker 4: every day, and it just to me was like this

852
00:44:12,520 --> 00:44:16,880
Speaker 4: youthful joy. And I every day I go out and

853
00:44:17,000 --> 00:44:19,680
Speaker 4: see that happening, and you guys were always so kind

854
00:44:19,680 --> 00:44:21,600
Speaker 4: to me. I was just the weird guy who's editing

855
00:44:21,600 --> 00:44:29,120
Speaker 4: a movie over there. I felt. I felt like that's

856
00:44:29,160 --> 00:44:32,239
Speaker 4: the dream of a creative environment that you want to

857
00:44:32,239 --> 00:44:34,719
Speaker 4: be in, that you can do the both most excellent

858
00:44:35,080 --> 00:44:38,359
Speaker 4: work and be affecting the world and have so much

859
00:44:39,280 --> 00:44:41,719
Speaker 4: fun and joy no matter how intense it was. And

860
00:44:41,760 --> 00:44:43,840
Speaker 4: I saw you guys on tour, I saw how the intensity.

861
00:44:43,840 --> 00:44:46,360
Speaker 4: I saw how exhausted that is, and I felt for

862
00:44:46,400 --> 00:44:49,319
Speaker 4: you as well. But you never I never saw you

863
00:44:49,320 --> 00:44:53,759
Speaker 4: guys treat fans in a way that didn't include them

864
00:44:53,760 --> 00:44:56,480
Speaker 4: in that joy. And I because I knew behind and

865
00:44:56,600 --> 00:44:59,040
Speaker 4: in front of the scenes, I knew that that was true.

866
00:44:59,200 --> 00:45:01,640
Speaker 4: So I just I always looked up to that. And

867
00:45:01,680 --> 00:45:05,080
Speaker 4: I think I wanted in Wicked to really feel that

868
00:45:05,160 --> 00:45:07,439
Speaker 4: we could be the most do the most excellent work.

869
00:45:08,120 --> 00:45:14,839
Speaker 4: We could break all these precedences that were set before us.

870
00:45:15,560 --> 00:45:20,440
Speaker 4: That we could have a queer man and a queer

871
00:45:20,440 --> 00:45:23,320
Speaker 4: woman play a couple in the movie, and we didn't

872
00:45:23,320 --> 00:45:26,520
Speaker 4: have to talk about it. Yeah, we have a woman

873
00:45:26,560 --> 00:45:28,720
Speaker 4: who uses a wheelchair to play Nessa for the first

874
00:45:28,760 --> 00:45:31,440
Speaker 4: time ever and we didn't have to talk about it.

875
00:45:31,800 --> 00:45:36,319
Speaker 4: That we could have an Asian matter morrible. And by

876
00:45:36,320 --> 00:45:38,160
Speaker 4: the way, did you guys know that Madam Horrible upside

877
00:45:38,160 --> 00:45:40,799
Speaker 4: Down is like Wicked? Pretty amazing? Ye?

878
00:45:42,480 --> 00:45:45,480
Speaker 2: That did you just come up with that?

879
00:45:45,920 --> 00:45:49,200
Speaker 4: And and to me, so you can have a musical

880
00:45:49,239 --> 00:45:54,160
Speaker 4: that said something about our world and and actually affect

881
00:45:54,200 --> 00:45:56,319
Speaker 4: the world and bring joy out there. So anyway, I

882
00:45:56,320 --> 00:45:59,000
Speaker 4: guess I hope that people get get a little bit

883
00:45:59,000 --> 00:46:01,880
Speaker 4: of what I got from when I was the observer,

884
00:46:02,719 --> 00:46:04,319
Speaker 4: that you can do all of it. You can have

885
00:46:04,320 --> 00:46:06,640
Speaker 4: a beautiful set, you can make great work, and you

886
00:46:06,640 --> 00:46:09,239
Speaker 4: can break ground, and that all exists together and it's

887
00:46:09,280 --> 00:46:09,839
Speaker 4: not about toy.

888
00:46:10,600 --> 00:46:13,279
Speaker 2: That's so nice of you to say. It's yeah, thank

889
00:46:13,320 --> 00:46:13,920
Speaker 2: you for saying that.

890
00:46:14,400 --> 00:46:15,840
Speaker 1: Thanks for the reflection.

891
00:46:15,960 --> 00:46:19,319
Speaker 3: It's nice to hear from somebody who was there, who

892
00:46:19,520 --> 00:46:22,080
Speaker 3: got to see those early days, and.

893
00:46:23,880 --> 00:46:24,839
Speaker 1: For us to see you.

894
00:46:26,080 --> 00:46:29,880
Speaker 3: Continue to wear your heart and storytelling on your sleeves

895
00:46:30,360 --> 00:46:34,080
Speaker 3: and it literally like seep into every piece of work

896
00:46:34,160 --> 00:46:36,920
Speaker 3: and every detail from the rustling of the wind to

897
00:46:37,040 --> 00:46:39,960
Speaker 3: how high the wind is, like it's so divine and

898
00:46:40,040 --> 00:46:44,160
Speaker 3: so inspiring, and it's truly. I wish there were more

899
00:46:44,560 --> 00:46:46,640
Speaker 3: John Che's out there, and I know there are, and

900
00:46:46,840 --> 00:46:49,440
Speaker 3: I hope that people listening to this are inspired to

901
00:46:49,520 --> 00:46:51,600
Speaker 3: go do the thing that you're doing and do it

902
00:46:51,640 --> 00:46:55,920
Speaker 3: with such grace and detail and finite. You know, I

903
00:46:55,920 --> 00:46:59,000
Speaker 3: don't know the feelings like I am just always so

904
00:46:59,160 --> 00:47:02,360
Speaker 3: inspired by you, and we're just so grateful that we got.

905
00:47:02,200 --> 00:47:04,560
Speaker 1: To connect with you again and have you here and

906
00:47:04,800 --> 00:47:05,319
Speaker 1: hear you talk.

907
00:47:05,360 --> 00:47:07,640
Speaker 3: We could hear you talk for hours and hours and hours,

908
00:47:07,680 --> 00:47:11,400
Speaker 3: but We're just it's just wonderful to see you again

909
00:47:11,400 --> 00:47:12,839
Speaker 3: and your words.

910
00:47:13,040 --> 00:47:15,640
Speaker 2: Yeah yeah, thank you so much for spending so much

911
00:47:15,680 --> 00:47:18,719
Speaker 2: time with us. We appreciate it. The busiest man in Hollywood,

912
00:47:19,040 --> 00:47:20,720
Speaker 2: true truly.

913
00:47:21,360 --> 00:47:27,040
Speaker 3: Good luck with the workshop today is one.

914
00:47:26,840 --> 00:47:30,080
Speaker 4: Of the best. It is a musical, especially it does

915
00:47:30,080 --> 00:47:32,080
Speaker 4: a musical making it a musical.

916
00:47:33,320 --> 00:47:35,920
Speaker 2: Is there a wedding scene in it? The beauty is

917
00:47:35,960 --> 00:47:36,840
Speaker 2: the beautiful wedding.

918
00:47:36,960 --> 00:47:40,680
Speaker 1: Do you love weddings because all the weddings are just.

919
00:47:40,600 --> 00:47:43,719
Speaker 4: So many weddings growing up. But I'm like, I know

920
00:47:43,760 --> 00:47:44,239
Speaker 4: how to do it.

921
00:47:44,239 --> 00:47:48,600
Speaker 2: It makes so much The two most beautiful, like cinematic

922
00:47:48,640 --> 00:47:51,000
Speaker 2: weddings I've ever seen in films aren't for you and

923
00:47:51,040 --> 00:47:54,480
Speaker 2: crazy irritations. I was like, this knows how to do

924
00:47:54,560 --> 00:47:55,080
Speaker 2: a wedding.

925
00:47:55,840 --> 00:47:57,520
Speaker 4: I told you I love weddings, and I get to

926
00:47:57,560 --> 00:47:58,320
Speaker 4: control the wedding.

927
00:47:58,400 --> 00:48:02,800
Speaker 2: Yes, are you? Oh my gosh, we love it.

928
00:48:03,600 --> 00:48:03,839
Speaker 4: Thanks?

929
00:48:04,200 --> 00:48:09,440
Speaker 1: Thank you, John Bye, Oh my gosh, she's so sweet.

930
00:48:10,320 --> 00:48:13,480
Speaker 1: Uh John, true everybody John.

931
00:48:13,600 --> 00:48:15,920
Speaker 2: Just John. I feel like we just need to do

932
00:48:15,960 --> 00:48:17,920
Speaker 2: like a yearly check in with him.

933
00:48:18,400 --> 00:48:21,480
Speaker 3: I mean, I just want to hear to speak about

934
00:48:21,920 --> 00:48:26,080
Speaker 3: I mean, we barely scratch the surface and it's like.

935
00:48:28,000 --> 00:48:33,560
Speaker 1: Just the detail in which he knows how to.

936
00:48:35,280 --> 00:48:35,480
Speaker 4: Look.

937
00:48:35,680 --> 00:48:39,279
Speaker 3: People know can direct whatever, but to direct on the

938
00:48:39,400 --> 00:48:43,200
Speaker 3: level that he's directing on and you hurt it yourself

939
00:48:43,239 --> 00:48:47,600
Speaker 3: paying attention to the detail every word that he hangs

940
00:48:47,640 --> 00:48:51,360
Speaker 3: on from every person in the camp like is really

941
00:48:51,840 --> 00:48:54,279
Speaker 3: it's what elevates.

942
00:48:53,560 --> 00:48:55,359
Speaker 1: His stuff and makes it so good.

943
00:48:55,880 --> 00:48:58,520
Speaker 3: And you can tell that he truly does love what

944
00:48:58,560 --> 00:49:02,719
Speaker 3: he does, whether he's shooting a wedding, somebody's wedding or

945
00:49:02,760 --> 00:49:04,600
Speaker 3: shooting a wedding at the highest level.

946
00:49:04,680 --> 00:49:08,600
Speaker 2: So I think that's also what makes me like him

947
00:49:08,640 --> 00:49:14,000
Speaker 2: a really great director for the Wicked movies, because he

948
00:49:14,280 --> 00:49:20,520
Speaker 2: sees it in a way like we all want to

949
00:49:20,560 --> 00:49:23,359
Speaker 2: be seen like he does it in a way that's

950
00:49:23,400 --> 00:49:26,560
Speaker 2: so approachable. And I mean that in like the best

951
00:49:26,560 --> 00:49:31,279
Speaker 2: way possible, where like Wicked could have gone wrong in

952
00:49:31,400 --> 00:49:32,120
Speaker 2: so many.

953
00:49:31,920 --> 00:49:33,960
Speaker 1: Ways no I know, but he knew.

954
00:49:34,120 --> 00:49:38,279
Speaker 2: He knew. You can revere something you know like you

955
00:49:38,360 --> 00:49:40,520
Speaker 2: have the utmost respect for it and still have your

956
00:49:40,600 --> 00:49:44,120
Speaker 2: vision for it where you can bring in new audiences

957
00:49:44,160 --> 00:49:46,239
Speaker 2: around the world to something that I've never seen it

958
00:49:46,840 --> 00:49:48,279
Speaker 2: and they can love it. And then you can also

959
00:49:48,320 --> 00:49:51,320
Speaker 2: bring in people who have loved the stage show for

960
00:49:51,320 --> 00:49:54,279
Speaker 2: forever and they can also love it, and that's a

961
00:49:54,320 --> 00:49:59,000
Speaker 2: really hard balance to strike. And Yeah, I think he's

962
00:49:59,360 --> 00:50:01,959
Speaker 2: really found because you can hear. I'm so glad people

963
00:50:02,000 --> 00:50:05,680
Speaker 2: can hear just how much he cares deeply, not just

964
00:50:05,680 --> 00:50:08,960
Speaker 2: about the final product, but about every little thing that

965
00:50:09,000 --> 00:50:11,920
Speaker 2: goes into the process, the people he's surrounding himself with,

966
00:50:12,040 --> 00:50:14,240
Speaker 2: and his love and understanding of the story.

967
00:50:14,800 --> 00:50:21,279
Speaker 3: Yeah, thank you John for literally taking the time to

968
00:50:21,640 --> 00:50:24,440
Speaker 3: go to a workshop. Yeah, you go direct a workshop

969
00:50:24,760 --> 00:50:26,399
Speaker 3: for crazy djation, It's no big deal.

970
00:50:27,560 --> 00:50:30,320
Speaker 1: And for you guys to hope you guys enjoyed the

971
00:50:30,320 --> 00:50:34,360
Speaker 1: conversation and come back next week.

972
00:50:34,680 --> 00:50:37,960
Speaker 2: That's what you really missed. Thanks for listening, and follow

973
00:50:38,040 --> 00:50:40,839
Speaker 2: us on Instagram at and that's what you really miss pod.

974
00:50:41,160 --> 00:50:43,000
Speaker 2: Make sure to write us a review and leave us

975
00:50:43,000 --> 00:50:44,520
Speaker 2: five stars. See you next time.