We all know what to expect when walking into an A24 film—at least, we think we know what to expect. Then there’s films like Dicks: The Musical.
Helmed by Josh Sharp and Aaron Jackson, the film is A24’s first ever musical that follows two former rivals who, once realizing that they’re identical twins, decide to bring their parents back together. It’s easy to pin Dicks: The Musical as an R-rated version of The Parent Trap, but whatever expectations you have of the film are honestly moot.
Through a considerably brief runtime of just an hour and a half, Dicks: The Musical manages to pack on everything from talking genitalia, to queer sewer gremlins, to Megan Thee Stallion dropping yet another hot girl anthem, and it somehow all makes sense. While the bestowment of whether or not something is “camp” is loosely thrown around these days, Dicks: The Musical is true, cult camp at its absolute best. Do I think this film is for everyone? Absolutely not. But if it’s for you, you will forever applaud the day this film was greenlit—an achievement in and of itself that I still can’t believe actually happened.
“Most of these interviews have been us doing therapy for a lot of people,” says Sharp in an interview with Complex.
We caught up with the cast of Dicks: The Musical, including director Larry Charles, to unpack how this film was made, what it was like working with Megan Thee Stallion, and how the rapper’s musical number came to fruition.
Note: While this interview was conducted during the SAG-AFTRA strike, A24 has been granted an interim agreement with the union, allowing film promotions.
This interview has been edited for length and clairty.
To kick things off, I really need to know how you guys got this film greenlit.
Josh Sharp: Well, we said it's a four-quadrant film, a family-friendly romp.
Aaron Jackson: You think Barbie was big? [Laughs]
JS: Luckily we've been doing it as a two-man stage show, so I think the pitch is hard to hear, but when you see us do it on stage you sort of get what we're going for.
AJ: Our producers tuned in and saw it, and they really responded to it. Then A24 got on board, then Larry, and then it sort of became a bit of a runaway train.
What was it like working with Megan Thee Stallion and how did you guys think to cast her as your boss in the film?
Larry Charles: Well that character emerged, you know, in the writing. Once [Aaron and Josh] had written the character of Gloria, it seemed like you needed an assertive person to play that role. And so we were asked to kind of make lists—
JS: Well Meg’s normally pretty subdued, but we thought maybe she could possess that [energy].
LC: Yeah, we had a lot of people on lists, but Megan Thee Stallion was one of those people that you go “Well, we’re not gonna get her, but we’ll put her on the list because what risk does it make.” And then when we approached her, she was interested.
We thought this might all be an elaborate prank.
So that was the first step. We were shocked by that. And then we didn't know whether she was even gonna show up on the set. We thought this might all be an elaborate prank.
Then she showed up, and no one had told her that she had dialogue and choreography. She had no idea what she was supposed to do. So then, she had to go back and learn all of that and come out in one day, or two days actually, and do everything that she did in the movie in two days—and she was absolutely fantastic. It showed us how professional, how efficient, how craftsman-like she is about what she does.
JS: And funny! Like she’s so funny and a joy to work with.
LC: No diva behavior, we had a great time together all of us.
JS: And we all get together every Friday night. [Laughs]
How did you convince Megan to walk men on leashes during her dance number?
AJ: She was so down. The choreographer showed it to her and she was like—I love it.
The Kuperman Brothers, who were incredible, choreographed [the scene] and they were like here’s an offering you can do whatever you want. She watched the whole thing and was like, I'm gonna need new shoes, sit up, and learn that.
JS: And a lot of [our] dancers were, if you can believe it, gay so you should have seen them fighting to be the ones walked on leashes. They were like I have to be Megan’s dog, please!
The sewer boys are obviously another huge part of the film. How would you guys rate them on a scale of 1 to 10?
AJ: I think they’re person specific. For Harris [Nathan Lane’s character], they’re beyond 10. For other people, they couldn't handle it. You have to know the pet, you have to know the creature. Harris has a telepathic bond with them, so that's really better than a golden retriever.
LC: You can't generalize the sewer boys. Each one has their own personality.
JS: And they either imprint on you or they don’t.
Nathan, the sewer boys are clearly your babies in the film. Can you walk me through what it was like filming the scene where you feed them? I’d imagine chewing up deli meat and spitting it into the mouths of two puppets is no easy feat.
Nathan Lane: In the original sketch, which [Aaron and Josh] did at the Upright Citizens Brigade, [the sewer boys] were referenced but they weren't seen. And it was intimated that Harris was maybe having sex with the sewer boys as well as caring for them.
As one does.
NL: As one does with sewer boys.
It was certainly the creepiest thing that I read in the script originally and thought, “I don't know if I want to be the guy who chews up deli meat and then spits it into the mouths of sewer boys.” But there I was…doing it.
So it's really a testament to Larry, Josh and Aaron, that they wooed me into doing this. And you know, people seem to be fascinated by it.
