Dicks: The Musical director Larry Charles, writers Aaron Jackson & Josh Sharp, and star Bowen Yang discuss how the wild and wacky movie came together.
Summary A24 may be best known for its horror films, but Dicks: The Musical is here to prove the independent studio's prowess in a whole new genre. Aaron Jackson and Josh Sharp adapted their own UCB one-act production into a movie script, which was then read and picked up by Borat director Larry Charles. Together, with some truly outstanding musical numbers courtesy of Karl Saint Lucy and Marius de Vries, they have cobbled together what is sure to be the next underground hit.
Aaron Jackson: I think it always was sort of a runaway train. And I think that was very important to us when making it full length, that it still has that energy of you don't know what's going to happen next. It’s that kind of laying the track down as the train is running, Larry Charles: I haven't read anything as funny as their script, and I hadn't seen anything quite as funny as the revue they originally did based on it. I knew it was super unusually and originally funny, and that very much attracted me. I find that I've seen the movie a thousand times, and I'm still laughing. I find every line of dialogue – there's so many throwaway lines of dialogue. The songs also; every lyric is kind of brilliant.
Bowen Yang: I feel like this God was as direct as any God on film has been, in terms of saying, “This is what I'm trying to tell you!” His intentions are clear so clear, and that was a gift as an actor to see. But I just got to wear beautiful costumes and comfortable six-inch feels heels while channeling a divine sort of love.
Josh Sharp: Turns out when you let a pop star do pop star s—t, they're really good at it. But she's also funny, and then just lovely to work with and fun and kind and all the things that I was like, “I didn't expect you to be this too!” We loved her. We have a crush on her. Bowen Yang: Right before you walked in, Aaron and I were humming “No One Understands,” and I just think it’s such a beautiful ballad. I think that's one of the moments in the movie where all these gorgeous clever split-screen things happen, and it's very mod. I know you filmed this in 20 days, which is insane. What are your tricks of the trade to get a song a day done?
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