The highly anticipated sequel, “Gladiator II,” is set 16 years after the original film. Cinematographer John Mathieson reflects on the evolution of filmmaking since the first installment, stating that director Ridley Scott’s approach has changed significantly. While the original film focused on building sets and using real animals, advancements in technology now allow for faster and more efficient production, including the use of 3D printing.
In this sequel, Scott has expanded the scope of action, introducing scenes featuring rhino showdowns, baboon fights, and a shark battle during a mock naval confrontation. Mathieson notes that Scott has fully embraced CGI, feeling comfortable with it and effectively collaborating with visual effects supervisors. He highlights the shark battle as one of the film’s most thrilling sequences. In this scene, Lucius (played by Paul Mescal) is captured by Roman soldiers and sold into gladiatorial combat, where he must fight against baboons and rhinos.
Mathieson describes the vibrant atmosphere of the Colosseum during this sequence, comparing it to a 1970s Vegas boxing match with colorful boats and senators in togas watching from their royal box. The action escalates as Lucius navigates his boat into a clash with others, leading to gladiators and soldiers falling into water filled with sharks.
To create this dramatic scene, Mathieson explains that they shot it twice: first on dry land using self-propelled modular transporters (SPMTs), which resemble large skateboards controlled by joystick operators.
The stuntmen wore padding for safety during these initial takes. The second part was filmed in Malta at one of Europe’s largest water tanks, measuring 300 by 400 feet and capable of reaching depths of two meters. The water was dyed emerald green to cast eerie shadows beneath the surface.
Mathieson emphasizes that filming in water is complex and time-consuming compared to dry sequences. He chose to keep his camera back during action scenes to capture the full scope of movement, aiming to immerse viewers in the experience rather than focus tightly on individual actors.
Scott’s vision for “Gladiator II” involved capturing as much action as possible in a single take from multiple angles. Mathieson explains that this method enhances continuity; if an actor falls off a boat in a wide shot, they will also fall off in close-ups, maintaining logical coherence throughout the sequence.
For his camera setup, Mathieson used an Alexa Mini LF equipped with a zoom lens for flexibility during fast-paced action. He noted that quick adjustments were essential due to the dynamic nature of filming.
The advancements in camera technology since the original “Gladiator” have also played a role in production. Mathieson highlights how modern telescopic cranes can reach heights of over 75 feet, allowing for greater mobility on set.
“Gladiator II” promises to deliver an exhilarating cinematic experience when it premieres on November 22, 2024.
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