Dicks: The Musical is out October 6th.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Dicks: The Musical is somehow even more wild than its name implies, making A24’s first musical feel like a big swing for the production company. It’s a gamble that audiences will likely be glad A24 took; what began roughly a decade ago as a musical performed in a cramped Upright Citizens Brigade theater in Manhattan has morphed into a film that aims for the heart as much as humor.
There was a period where the whole thing was asleep, and we didn't have a director. Then, they found Larry, recontacted me, I picked up the thread, and then we just rolled our sleeves up and started making it. It was a long and twisty journey, but I knew from that first meeting I had in Silver Lake with the twins seven years ago [that] there was something really special here, and I was delighted to have the opportunity to see it through.
Marius de Vries: What's kind of interesting about the process that I discovered as we got into developing new material for the show is that Josh and Aaron [would] kind of put a phone on the table and sing an acapella version of the song. In many respects, it's actually pretty close to how it turned out, so I think you'd agree, Karl, that it's not a traditional “sitting around the piano” song composition process. It's more of a relay.
Were there musicals that you two used as reference, either in songwriting or orchestrating? One of my favorite things about this is how sweet the music sounds paired with these insane lyrics. Karl Saint Lucy: And Reefer Madness, the musical, too. It’s funny, I watched Reefer Madness for the first time in a few years the other day, and they also have a scene where oysters and spaghetti are being served at the same time, which I thought was so funny.
The next thing I was going to ask was about “Desperate for your Love”, and just generally just getting Nathan Lane and Megan Mullally to do the things that they do in this. How were they? Did they take any convincing? From the moment she opened her mouth, I was like, "How is this going to work in a song?" And it was incredible. You both are in this movie, I believe, [as well]. How did that come about? Did you ask for it?
Marius de Vries: That was the p**sy instrument. And then the ondes Martenot, apart from Messiaen, the most recent expert or virtuoso on the ondes Martenot is Johnny Greenwood who used- Marius de Vries: I think, for me, the real standout is “Lonely”.Marius de Vries: It's kind of the most extreme example of the way that the sincerity and the songwriting is juxtaposed with the ludicrousness of the situation, and I think it pushes that device about as far as it can go.
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