Jon M. Chu, the visionary director behind the record-breaking Wicked adaptation, detailed his strategic approach to high-stakes filmmaking and the irreplaceable nature of human intuition during a headline session at WIRED’s Big Interview event in San Francisco. Addressing the intersection of technology and art, Chu asserted that while the industry faces deep structural changes, the “definitive” cinematic experience remains rooted in spontaneous human moments that algorithms cannot replicate.
From Silicon Valley Roots to the Great American Fairy Tale
A Bay Area native, Chu’s trajectory was shaped by the technological generosity of Los Altos. Growing up in his parents’ renowned restaurant, Chef Chu’s, he was gifted computers and Adobe software by customers who recognized his early passion for filmmaking. This foundation in tech allowed him to view The Wizard of Oz—and its deconstruction in Wicked—through a unique lens of the American Dream.
The director spent over five years bringing the Broadway phenomenon to the silver screen, a process he describes as both exhausting and a privilege. “Tackling Wicked is taking the great American fairy tale and deconstructing it to tell a story through a new perspective,” Chu explained, noting that the project spanned the birth of three of his children and required a total immersion in the source material to ensure the film became the definitive version for fans.
The Evolution of Viral Marketing: From MySpace to Global Phenomenon
Chu’s career has served as a roadmap for the digital transformation of cinema. Long before the current era of TikTok trends, Chu was pioneering audience engagement. During the production of Step Up 2: The Streets in 2008, he utilized MySpace for auditions and music sharing, establishing a direct relationship with the audience that bypassed traditional gatekeepers.
This strategy matured during his work on Justin Bieber: Never Say Never, where he witnessed the power of real-time digital storytelling. By becoming a character in Bieber’s world and engaging fans on platforms like Twitter and TinyChat, Chu learned that the narrative of a film begins long before the theatrical release. For Wicked, this meant navigating a fragmented landscape of “hardcore theater kids,” book fans, and general moviegoers, keeping them looped into the creative process to build a global community before the first trailer even dropped.
Bonding Under Fire: The Erivo and Grande “Sisterhood”
The director addressed the intense scrutiny and “cynicism” surrounding the casting of Cynthia Erivo and Ariana Grande. Chu revealed that the emotional bond seen during the press tour—often parodied on social media—was forged in a high-pressure environment where the future of the movie musical was at stake. With the decision to split the story into two films and the industry-wide narrative that “cinema is dead,” the cast and crew found themselves in a protective “huddle.”
“We only had each other,” Chu said, defending the deep emotional connection between his leads. He emphasized that the intensity of creating something of substantial effort requires a level of passion that may seem “cringey” to outsiders but is essential for authentic storytelling. Having filmed both parts of the saga simultaneously, the team lived through the characters’ entire lifecycle—including their “death and rebirth”—long before the public saw a single frame.
The AI Debate: Tools, “Original Sin,” and the Power of the Wink
While Chu embraces technology, he maintains a nuanced view of Artificial Intelligence in the creative process. He identified an “original sin” in generative AI: the mining of images and stories without the consent of rights holders. Despite this, he views AI as a potential tool—a “pencil” that can help bridge the gap between a creator’s mind and the physical world.
However, Chu argues that the true beauty of cinema lies in human imperfection and instinct. He cited a specific moment in Wicked where Elphaba winks while putting on her cape—a spontaneous gesture by Erivo that wasn’t in the script. “The movie comes alive when you’re on that set and you’re using your human instincts,” Chu noted. He believes that while AI can organize and visualize, it cannot replicate the iconic moments born from 100 people reacting to a sudden rainstorm or a performer’s mid-scene inspiration.
Representation as a “Box Office Fact”
Reflecting on Crazy Rich Asians and the current climate regarding Diversity, Equity, and Inclusion (DEI) initiatives in Hollywood, Chu remains focused on results over rhetoric. Despite the industry’s recent “crackdown” on formal DEI programs, Chu asserts that his role is to make representation an undeniable “fact” through commercial success.
By casting Erivo as the first woman of color to play Elphaba on screen, featuring Michelle Yeoh, and hiring the first wheelchair user to play Nessarose, Chu aims to prove the value of diverse perspectives via the box office. “When you put it in a movie theater, if it makes money, if it creates a cultural phenomenon, it becomes a fact,” Chu concluded. “There’s no more argument.”
