Director Ridley Scott conquers Logistical challenges to create a sweeping vision of ancient Rome in Gladiator.
Director Ridley Scott doesn't simply direct feature films; he creates cinematic worlds. All of these worlds which have included the distant future in Alien (1979), the Napoleonic era in The Duellists (1977) and ancient Rome in the newly released Gladiator bear Scott's indelible aesthetic imprint and benefit from his keen photographic instincts. They also demonstrate Scott's unquenchable craving for atmospheric smoke.
Another trait that all of Scott's films share is an acute attention to set detail. After establishing deep roots in television and commercial production design during the '60s, Scott blossomed into a truly inventive visualist. Later, he became increasingly involved in cinematography, operating the camera himself while directing highly influential 30- and 60-second spots that revolutionized Britain's television advertising industry.
In addition to having a brother and three sons who also work as directors, Scott is able to harvest cinematographic talent through his production companies: Black Dog for music videos, RSA for commercials, and Scott Free for feature films. Many of Scott's music-video and commercial collaborators eventually photographed features for him. Frank Tidy, BSC, lit Scott's first feature, The Duellists, and Derek Vanlint illuminated Alien. (Scott storyboarded and operated principal camera, including handheld shots, on the dark and claustrophobic science-fiction thriller.) Scott has also worked with Jordan Cronenweth, ASC (Blade Runner, see AC July '82 or March '99); Alex Thomson, BSC (Legend); Steven Poster, ASC (Someone to Watch Over Me); Jan DeBont, ASC (Black Rain, see AC Sept. '89); Adrian Biddle, BSC (Thelma & Louise and 1492: Conquest of Paradise; see AC Oct. '92); and Hugh Johnson (White Squall, see AC Feb. '96, and G.I. Jane).
Scott took some time between mixing sessions at Todd-AO Studios to light up a cigar and invite American Cinematographer to peer into the directorial stratagems he brought to bear on Gladiator.
American Cinematographer: How did the Gladiator project come together?
Scott: I was approached by Walter Parkes and DreamWorks. Walter, one of the great story pitchers, preceded his remarks by presenting a reproduction of a 19th-century painting by the artist [Jean-Léon] Gérôme (see page 56). It showed a Roman arena from the level of the sand, where a gladiator holding a weapon was standing over his vanquished foe, looking up at an emperor who was staring down at them and preparing to give the thumbs-down gesture. Walter really had me the second he showed me the painting. I honestly hadn't thought about that world before, and it's a tricky one to address because of the 'toga/gladiator syndrome' [in film history]. I just thought it was a a good pitch, a great story, and a great world to explore.
Was it the time period or the story that appealed to you most?
Scott: After many years and millions of feet of film, including lots of television commercials, I've discovered that I have an artistic side, and that I really like creating worlds. That's one of the things I bring to bear when I do a movie. Something clicked in the back of my head, and I thought, 'Damn it, I hadn't thought of doing this one before. This is really interesting.' That's what really got me going. In this instance, the world came first, then the story. Usually, it's story and character first, and then the world finally rolls in
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What led you to choose John Mathieson as the project's cinematographer?
Scott: One of my sons, Jake Scott, had already directed his first feature film, the 17th-century piece Plunkett and Macleane [a 1999 release that was shot by Mathieson]. Jake happened to be in London editing it at the time, and he would show me cuts of his film. I thought it looked absolutely wonderful on every count. John Mathieson and Jake had worked together a lot doing rock videos and commercials, and John had already done several movies. So I said to Jake, 'Do you mind if I ask John to do my next movie?' That's a reversal, isn't it? [Laughs.]
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