With “Gladiator II,” Ridley Scott returns to the bloody world of his Oscar-winning swords-and-sandals epic. Starring Paul Mescal as Lucius, a younger prisoner turned gladiator, this sequel goes greater and wilder than its predecessor, together with monkeys, rhinos and even sharks inside its grand motion sequences.
To re-create the epic scope of the unique movie and reimagine it for 2024 audiences, Scott reunited with lots of his longtime collaborators. That included particular results supervisor Neil Corbould. Becoming a member of him was visible results supervisor Mark Bakowski.
In contrast to Corbould, who’s labored with Scott for many years (he received an Oscar for “Gladiator” and was nominated simply final 12 months for the director’s “Napoleon”), Bakowski was excited to work with the famed filmmaker for the primary time.
“He’s nuts,” Bakowski says with fun through Zoom, concerning the English director. “But obviously in an excellent way. He shoots quickly, and he likes to move. He’s like, ‘Get me going.’ It’s all rush, rush, rush. It’s great. But it took some getting used to.
“I heard him shout once, ‘I want four donkeys (there might have been a swear word in there) and I want them now!’” Bakowski remembers. “And somehow they turned up.”
Scott’s consideration to element went hand in hand with an instinctual method to selections huge and small alike. Bakowski factors to the selection to incorporate baboons with alopecia in a key scene the place Lucius first proves himself a worthy fighter in entrance of Macrinus (Denzel Washington), a conniving former slave with wild ambitions for the Roman throne.
However Scott was instantly taken by this hairless primate, insisting it’s the creature Lucius fends off along with his naked fingers. That scene is however one instance the place “Gladiator II” used visible results (and numerous 6-foot-tall stuntmen who stood in for these menacing baboons, a problem in itself that Bakowski’s workforce needed to take care of) to create the type of set piece that might have been unthinkable 25 years in the past.
But “Gladiator” nonetheless loomed giant within the eyes of all concerned — particularly when it got here to redesigning the movie’s most iconic location: the Colosseum.
“When we started, we chatted with this professor of history,” says Bakowski. “He showed us what, according to his interpretation, the Colosseum should be. So we matched the Colosseum to his design. Then we started looking at it in shots, and it didn’t look anything like ‘Gladiator.’ It looks completely different. Basically, it might be right, but it just didn’t look as cool.”
The selection was easy: Lucius would battle in the identical Colosseum Russell Crowe’s Maximus had fought in 20 years earlier than. Ultimately, the constructed set seemed nearly an identical to the one constructed for the 2000 movie.
It’s there the place Bakowski noticed firsthand how a grasp storyteller like Scott orchestrated among the movie’s most intricate sequences.
“He sets it up like a big symphony,” Bakowski says. “And then sometimes a scene will just roll, like the ship battle. He would roll for minutes upon minutes at a time with, let’s say it’s 10, 12 cameras. He sets up this kind of event, kind of like a little version of a battle. And all these cameras in there just record it.”
“Sometimes a scene will just roll, like the ship battle. He would roll for minutes upon minutes at a time with, let’s say it’s 10, 12 cameras,” visible results supervisor Mark Bakowski says of “Gladiator II” director Ridley Scott.
(Paramount Photos/Paramount Photos)
That battle takes place in a flooded Colosseum stuffed with bloodthirsty tiger sharks. There, Lucius and his fellow gladiators should mount a full-scale assault on a warring ship for the leisure of 1000’s of Romans watching, together with its unhinged sibling emperors, Geta and Caracalla (Joseph Quinn and Fred Hechinger).
“I’ve never seen anything like it,” Bakowski says. “It’s quite close in terms of the energy. It’s not crafted to a lens. The lenses all fit around the action.”
The crackling authenticity such photographs create proved a welcome problem for your complete “Gladiator II” crew. Particularly as a result of the unique plan for the way that naval battle was to be shot needed to be scrapped.
“The actors’ strike happened right in the middle of shooting,” Bakowski notes. “We had this week and a half where all the actors had gone, but the stunties were still there because they weren’t SAG. So we had this time. And Ridley was like, ‘You know what we’ll do? We’ll shoot the Colosseum naval battle.’”
Besides the water tank the particular results workforce hoped to make use of for the sequence wasn’t prepared. In the event that they have been to shoot that battle, they’d have to take action understanding that each one the water must be added in postproduction. Which is precisely what they did.
The completed sequence required artfully stitching collectively shoots in 4 separate places that occurred each earlier than and after the strike — some with in-camera water results and a few in fully dry circumstances.
Such an outlandish spectacle captures how “Gladiator II” doesn’t merely retread what had come earlier than. There’s a boldness to it that builds on Scott’s storied legacy.
“Technology has moved on,” as Bakowski places it. “We can do more. We’re doing a lot more shots — 10, 12 times as many shots as the first movie. The action is different. But hopefully, the spirit of the original movie is there, and hopefully we’re honoring the amazing achievement that it was.”
