Director Jon M. Chu and supervising music editor Jack Dolman are set to release the second part of the musical adaptation, Wicked: For Good, bringing the story of Elphaba, Glinda, and Oz back to the big screen. The monumental task of translating a beloved musical, especially when bisected into two parts, presented unique challenges, demanding creative solutions to ensure Wicked: For Good could stand as a coherent story on its own.

A significant creative decision was the crafting of two new songs for the film, in collaboration with composer Stephen Schwartz: “The Girl in the Bubble,” performed by Ariana Grande, and “No Place Like Home,” sung by Cynthia Erivo. Chu emphasized that splitting the movie into two parts was crucial to avoid cutting too many original songs and to preserve the essence of the musical. This bifurcation allowed for a deeper exploration of the characters, particularly Elphaba and Glinda, after the pivotal “Defying Gravity.” Chu sought to understand the profound consequences of their diverging paths and the loneliness of courageous choices, which led to the need for new scenes or songs. Schwartz readily embraced this vision, delivering new compositions that prioritized storytelling and character development, rather than just melody.

Another notable challenge was Chu's insistence on all songs being sung live during filming, presenting numerous technological hurdles in post-production. The sheer scale of the cast, choreography, and sets for ensemble numbers also added to the complexity, requiring remarkable juggling acts. However, Chu's extensive background in music and dance-focused films, including In the Heights, the Step Up franchise, and Justin Bieber’s Never Say Never, prepared him for such an undertaking.

Music editor Jack Dolman described the experience of working with vocalists of Cynthia Erivo and Ariana Grande's caliber as an “embarrassment of riches.” The abundance of incredible live vocal takes allowed for minute adjustments, such as swapping individual syllables, to enhance character performance. Chu elaborated on the editing process, explaining that while visual performance and musical vocal might sometimes conflict, the consistent excellence of the singers provided immense control. His philosophy for musical movies leans towards an organic feel, where songs emerge naturally from characters, even if it means a slightly