{"id":57602,"date":"2024-12-04T01:49:21","date_gmt":"2024-12-03T17:49:21","guid":{"rendered":"http:\/\/www.teampcheng.com\/blog\/?p=57602"},"modified":"2024-12-04T01:49:25","modified_gmt":"2024-12-03T17:49:25","slug":"building-rome-ridley-scott-and-fellow-filmmakers-talk-about-recreating-ancient-rome-once-again-in-gladiator-ii-in-cinemas-december-4","status":"publish","type":"post","link":"http:\/\/www.teampcheng.com\/blog\/entertainment\/movies-entertainment\/building-rome-ridley-scott-and-fellow-filmmakers-talk-about-recreating-ancient-rome-once-again-in-gladiator-ii-in-cinemas-december-4\/","title":{"rendered":"BUILDING ROME:\u00a0RIDLEY SCOTT AND FELLOW FILMMAKERS TALK ABOUT RECREATING ANCIENT ROME ONCE AGAIN IN \u201cGLADIATOR II,\u201d IN CINEMAS DECEMBER 4"},"content":{"rendered":"\n
\"\"<\/a>
Gladiator II<\/em>
Photo credit: Paramount Pictures<\/figcaption><\/figure>\n\n\n\n

Gladiator II<\/em> is the most ambitious collaboration director Ridley Scott has done with production designer Arthur Max. The acclaimed filmmaker has often turned to Max to help build his creative vision. This is the 16th project Scott and Max have worked on together, a list that includes Gladiator, American Gangster, The Martian<\/em> and Napoleon<\/em>. <\/p>\n\n\n\n

\u201cEverything is much bigger and more elaborate than anything we\u2019ve done before,\u201d says Max, who oversaw the design and build of ancient Rome for the movie. \u201cIt\u2019s Gladiator<\/em> on steroids. Ridley\u2019s approach to making a film is always immersive. He\u2019s involved in every phase, every department. It can be a challenge working with him, because he expects so much. And I love a challenge.\u201d<\/p>\n\n\n\n

The long-awaited sequel was filmed in Morocco and Malta, with a few scenes at Shepperton Studios outside London. \u201cIt would be hard to overstate how massive a production Gladiator II <\/em>was,\u201d says producer Lucy Fisher. \u201cThe scope was overwhelming. In Morocco, there were over 80-something huge tents dedicated just for the extras\u2019 hair and makeup, and to house countless props and costumes. In Malta, we assembled the Arena, the palace and whole blocks of ancient Rome. There was a life size statue of Pedro Pascal on his horse. In a world of green screen and AI, this might be the last great build in movies. And we all felt privileged as we walked the streets of this lost world.\u201d<\/p>\n\n\n\n

\"\"<\/a>
Gladiator II<\/em>
Photo credit: Paramount Pictures<\/figcaption><\/figure>\n\n\n\n

The set recreates many of Rome\u2019s impressive historical settings in an area approximately eight kilometers long. Max created an even larger replica of the Colosseum, and a considerably grander city entry arch adorned with Romulus and Remus motifs. His plans combined cutting-edge technology with ancient craftsmanship on a breathtaking level. \u201cWe used many of the same old-school techniques for architectural recreations, sculptures, frescoes and painting, to create authenticity and intimacy. But there are a lot of digital tools now we didn\u2019t have access to then. When Ridley told me to go for scale on this one, I took that to mean, bigger than before \u2013 and it was all very big to start with.\u201d<\/p>\n\n\n\n

\"\"<\/a>
Gladiator II<\/em>
Photo credit: Paramount Pictures<\/figcaption><\/figure>\n\n\n\n

The Colosseum set was a practical build of roughly one third the correct height of the real Colosseum, and somewhere between a quarter to a third of the span. \u201cWe knew we had to fill it with water,\u201d says Max. \u201cSo we raised the foundation up about five feet so we could still see what we wanted above the water line when we flooded it digitally. We also enlarged the entry arch, so we could bring the ships in through the gates. We gave it a little bit of a boost from the bottom up, but you will recognize it when you watch the film.\u201d<\/p>\n\n\n\n

More than 500 extras were brought in to play the Romans who crowded the Colosseum, but it was nowhere near enough people to fill up even the scaled-down amphitheater, so many more spectators were added digitally. Scott, who is known for using up to four cameras at a time, regularly used eight to 12 for this shoot, plus additional drones and crash cams. Each scene, he says, is directed like a play, with simultaneous action taking place all over the set. \u201cYou have to know exactly where to place the cameras,\u201d explains the director. \u201cI can do that because I\u2019ve storyboarded it all in advance. For even the best camera operator it can be hell. I don\u2019t rehearse with the actors, but I do rehearse with the camera operators, and I dress them in costume on the set because they could end up in a scene.\u201d <\/p>\n\n\n\n

Gladiator II<\/em> opens in cinemas December 4. Connect with the hashtag #GladiatorII<\/strong> and tag @paramountpicsph<\/p>\n","protected":false},"excerpt":{"rendered":"

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