Merely existing in the world in the past few weeks would be enough for most people to know that the film adaptation of the beloved Broadway play Wicked is arriving in theaters today (Nov. 22).
Starring Ariana Grande, Cynthia Erivo and Jonathan Bailey, the musical film is one of the most anticipated releases of the year, with first-week box office projections of $100 million and a marketing campaign that includes everything from billboards to merchandise to late-night TV appearances and even its own category on Jeopardy! earlier this week.
But it’s impossible to separate the spectacle that is Wicked from its songs, and there has also been intense interest in both how the music is incorporated into the film and the construction of its soundtrack, given the original cast recording from 2003 won a Grammy Award in 2005 for best musical show album. And that’s something that NBC Universal president of music Mike Knobloch knew to take extra seriously. “The original cast recording is iconic, so priority number one was to not mess it up,” Knobloch tells Billboard. “It has also been a great opportunity to make a soundtrack for a beloved musical that will only be the second Wicked album in two decades. But while our primary mission was to make the film, we didn’t want the soundtrack to simply be a ‘copied and pasted’ byproduct.”
To make that happen, Knobloch and original Wicked composer Stephen Schwartz, along with the filmmakers, producers and the rest of their music team, got to work more than two years ago to make sure they struck the right notes. And as the film and its soundtrack finally make their way into the world today, Knobloch earns the title of Billboard’s Executive of the Week.
Here, Knobloch discusses the work that went into helping Wicked come to life, as well as the marketing campaign behind the project and the state of musical films these days. “Wicked is the perfect example of how it all comes down to just making an excellent movie, whether characters on the screen are singing or not,” he says. “It’s got an engaging story, it’s timely and relevant — eerily so for something written 24 years ago — has performances that take your breath away, it’s visually stunning, exhilarating, innovative and multidimensional in a way that makes the state of the musical movie feel pretty epic right now to me.”
This week, the new film Wicked opened wide in theaters, and the official film soundtrack was released, featuring Ariana Grande, Cynthia Erivo and more. What role did you play in helping make this project come to life?
There’s no handbook for how to take an existing stage musical and adapt it for the screen, especially with the film’s scope and scale and lack of constraints compared to the stage, and how cherished these songs are to so many. I worked closely with the filmmakers, Jon Chu and Marc Platt, and composer Stephen Schwartz from the very beginning, starting with the critical task of putting together the right team of best-in-class creative and technical personnel so we could be equipped to make something really special. And then I pretty much assumed the role of the “music team coach” through every stage of production all the way through the delivery of the soundtrack.
When did the work for it first start, what challenges did you face and how did you overcome that?
We started in earnest very early in pre-production more than two years ago, and we had a lot to figure out, starting with the production methodology — how to go about equipping the production for live singing, developing the instrumental tracks, adapting the structure of the music to the requirements of the film and so on. We had to start with demos and record in phases in order to put Schwartz’s brilliant music up on the screen. This allowed the music to have the flexibility to follow the actors’ performances, which provided them a great deal of creative freedom.
We consistently found ourselves in uncharted territory, so we put a lot of emphasis on the “how to” from the jump so that we could drive the process as efficiently as possible — and especially make sure the cast and crew had what they needed well in advance of each day of filming. We did some atypical things, like building a bespoke recording studio tailored to our unique needs and routines, for example. The music team was entrusted with this huge responsibility to work closely together and realize the music of Wicked at a level that’s never been done before. It just required an intense level of teamwork and collaboration at every step.
There is a beloved recording made by the Broadway cast that won a Grammy in 2005 for best musical show album. How did you approach making the soundtrack different, or expand upon it, given that original material?
The original cast recording is iconic, so priority number one was to not mess it up. It has also been a great opportunity to make a soundtrack for a beloved musical that will only be the second Wicked album in two decades. But while our primary mission was to make the film, we didn’t want the soundtrack to simply be a “copied and pasted” byproduct. Stephen Schwartz worked extremely closely with executive music producer Stephen Oremus — who has also been the music director of the stage play since its beginning — producer and mixer Greg Wells, and the rest of the music team to make sure the album would be a standalone and complete aural experience.
So without the dialog — except for some snippets for narrative context — and the rest of the sound from the film, a great deal of time and effort went into balancing the vocals with all the orchestral and other instrumental elements and editing the songs together into a cohesive structure. A lot of care went into capturing cast vocals throughout filming that would be production-quality for the soundtrack so that it would reflect their true performances from the movie. This new soundtrack isn’t really meant to be compared to the Broadway recording since it’s a different medium, obviously — but everyone was extremely careful to be faithful to and respectful of what people know and love about the music of Wicked, as well.
How difficult is it to adapt a Broadway production to film, and how did you navigate that from a music point of view?
With genuinely brilliant talent like Ariana, Cynthia, Jonathan Bailey and the rest of the cast, combined with Jon Chu’s imaginative direction, the “adaptation” of the music really gets to be led by their amazing performances. There are orchestration choices, instrumentation and dynamics that differentiate what these songs sound like on stage versus onscreen. Of course, Wicked is a break-out-into-song musical, but something it does very well is to transition in and out of songs without having any of those obvious flags that make you think, “Oh, she’s about to sing something now.” It’s all very fluid and organic, and the musical “bed” was subsequently built to support the performances on the screen. John Powell coming in to score the movie with Stephen Schwartz was also a big part of differentiating the style, scope and scale of the storytelling on the screen. Their score is what glues it all together and makes it feel cinematic.
Wicked has benefited already from an extensive marketing campaign. What role did you play in that, and how have you seen that pay off?
Wicked, the film and the campaign, is just the biggest thing we’ve ever done. Accordingly, we needed a soundtrack partner that could rise to that level and bring an appropriate amount of supplementary marketing muscle to the campaign. We’ve had a great deal of soundtrack success with Republic Records over the years. For Wicked, we had the fortuitous advantage with Republic in that they are also the label to which Cynthia and Ariana are both signed. Our combined teams — along with Verve Records — have been working together since the beginning and our shared mandate was to swing for the fences and treat this soundtrack like an A-list artist record. That has really framed what we’ve done at every step to put together an impactful global campaign filled with “first-ever” initiatives and top-tier programs with partners.
Also, Ariana and Cynthia have been in the war room and a critical part of creative and strategic decisions alike. So it’s just been much different than a typical movie soundtrack of songs and/or score in terms of the level of anticipation, fandom and demand. That said, we are not leaving anything on the table with this global marketing campaign. It’s been a really special, once-in-a-lifetime, lightning-in-a-bottle experience and an honor to be part of it.
How do you feel about the state of the musical movie in general right now?
I feel great about it. Audiences show up for quality films of all genres and, as you may have noticed from our campaign, nobody is trying to disguise the fact that this is a break-out-into-song musical — but that isn’t singularly what defines it. Wicked is the perfect example of how it all comes down to just making an excellent movie, whether characters on the screen are singing or not. It’s got an engaging story, it’s timely and relevant — eerily so for something written 24 years ago — has performances that take your breath away, it’s visually stunning, exhilarating, innovative and multidimensional in way that makes the state of the musical movie feel pretty epic right now to me.
What other projects do you have on the horizon?
Following Twisters and The Wild Robot and Wicked, we have a diverse portfolio of projects in the pipeline: Our specialty shingle Focus Features is releasing Nosferatu and is also in production on a biopic that’s the true story of a Neil Diamond impersonator. We’re in production on another Super Mario Bros film as well as a Shrek reboot, and we’ve also got another Jurassic World film coming next year, a live-action How To Train Your Dragon to name just a few. And of course, Wicked Part Two!
