The much-anticipated cinematic adaptation of the beloved musical Wicked is arriving this holiday season, with a star-studded cast and cutting-edge visual effects. Directed by Jon M. Chu, Wicked is a grand spectacle that brings the iconic Broadway show to the big screen, and it’s only the first chapter of a two-part immersive experience, with Wicked Part Two Slated for release in 2025.
EXCLUSIVE: Hollywood VFX Expert Pablo Helman recognizes Indian cinema’s strength in choreography and color as he talks about his work in Wicked; says, “It was exhausting.”
As part of the global junket for the film, Bollywood Hungama had the opportunity to speak with Pablo Helman, the VFX supervisor behind WickedWith a storied career working on massive blockbusters like Killers of the Flower Moon, The Irishman,and War of the WorldsHelman shared his thoughts on what made Wicked unique and how the VFX team overcame the challenges of bringing the magical world to life.
The Unique Challenges of Wicked
When asked what sets Wicked apart from the other blockbuster films Helman has worked on, he reflected on the ambitious scale of the project.
“From the beginning, we knew we had to create a vast universe. While I’ve been part of big projects before, this was a new collaboration with the cinematographer, production design, wardrobe, and, of course, Jon, the director. We had in-depth discussions about the movie and the challenge of establishing the world we wanted to portray,” Helman explained.
The director’s vision of blending music, visuals, and live performances with a massive 350-person cast created a unique environment for the VFX team. “This was my first time working on a musical, though I’ve handled emotional scenes before. When we started working with 350 people on stage, actors singing live, and blending music and visuals, it gave me goosebumps,” he said.
Helman also emphasized the importance of working closely with the production team to bring the film’s world to life. “As a visual effects supervisor, my job is to get into the director’s head and anticipate their needs,” he added. “I rely heavily on production design and cinematography so that once shooting is done, I can work with everything we’ve researched and created, incorporating it into the visual effects.”
Favorite VFX Moment: “Defying Gravity”
One of the standout moments in Wicked is the iconic “Defying Gravity” sequence, a pivotal moment that takes place towards the end of the film. Helman shared his admiration for this sequence, both for its technical difficulty and its emotional impact.
“Technically difficult, it also relies on well-developed characters and the story to have the desired impact,” Helman said. “Everything in the movie was carefully planned, including the organic feel and tactile nature of the film. We began the ‘Defying Gravity’ sequence with a model of Emerald City on a table and used a stick figure to help visualize the character’s movements.”
Working with stunt coordinator Joe McLaren, the team designed the sequence with wires, while also respecting the wishes of actress Cynthia Erivo to perform her own stunts. “We shot as much as possible in-camera, but the cape, because of the wires, had to be adjusted digitally,” Helman explained. “The cape itself becomes a character, moving in a way that reflects the play’s essence.”
The VFX team spent months perfecting this effect, balancing the cape’s size and the backlit lighting to create a Renaissance painting-like visual. This sequence represents the culmination of Elphaba’s transformation and adds an emotional layer to the film.
Reuniting with Jeff Goldblum
Helman also spoke fondly of his reunion with Jeff Goldblum, an actor he worked with nearly 30 years ago on Independence Day,
“I think he noticed my white hair, which is one thing. independence ,Day) was nearly 30 years ago, so he looks the same as he did back then,” Helman shared. “One of the great things about Jeff is that he’s an incredible actor. Sometimes it’s hard to tell if he’s acting or being real. He’s always surprising, and working with him has been great.”
A Nod to Indian Films and VFX
In a discussion about the VFX landscape, Helman was asked if he had noticed any recent Indian films excelling in the visual effects department. While he couldn’t recall a specific project, he acknowledged the significance of choreography, color, and camera movement in visual storytelling.
“I’ve seen through streaming some great episodic television. I’m always interested in the performances. So, we’re always looking at choreography and color, especially because this is the first time that I worked on a musical, and besides the music, there’s a choreography. So, the music and the visual effects and hundreds of dancers, it was exhausting just to take a look at that. So, looking at some of the Indian movies that had come our way, I can immediately see what kind of challenge we all have when we’re working with choreography.”
Also Read: Ariana Grande, Cynthia Erivo, Jonathan Bailey and director John M. Chu discuss film adaptation of Wicked: “Special magic is palpable”
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