‘Gladiator II’ Production Designer Arthur Max on How Sequel’s Colosseum Expanded on Ridley Scott’s Original Vision

by

Colosseum Collab

In the workspace, Ridley Scott offers feedback to Max (wearing sunglasses) and two set designers regarding the main entrance gate of the Colosseum. “He enjoys adding intricate details or making significant changes as he works,” Max comments about Scott. Since Scott previously worked as a production designer for the BBC, Max continues, “It’s challenging to pull one over on him.

A Riddle for Ridley

In this production, Paul Mescal’s character Lucius explores a set that replicates a complex of ancient Christian martyr tombs found in Rome, specifically his father Maximus’ tomb. This set is strategically positioned next to the set used for the prison scenes. It was challenging for the film crew to figure out how and where to shoot such intricate sequences, as Max points out: “There’s a balance between aesthetics, which often align with the practical considerations of choosing the right location for specific scenes and making them function seamlessly.”

The scene where Paul Mescal’s character Lucius visits his father Maximus’ tomb, adorned with a sword and breastplate, is modeled after a group of Christian martyr tombs in Rome. This set was placed near the prison set for filming purposes. Determining the best way to stage these scenes was a puzzle for the film team, as Max explains: “We have to strike a balance between aesthetics and practicality – deciding where to film certain sequences and making sure they fit cohesively.

A Grand Spectacle

This image showcases the velarium, a shade structure over the Colosseum spectators during filming. The upper part sports black coverings used by the film crew to regulate light, while underneath are extra fabrics that could be lowered to reduce sunlight when necessary. These coverings were later digitally removed through post-production effects (VFX). In both movies, the arena floor was adorned with eight obelisks, a design inspired by an 1800s painting by French artist Jean-Léon Gérôme. One of these structures, often referred to as “bronze phalluses” by Max’s team, played a significant role in the gladiators’ rhino battle scene in the sequel.

Getting Wet

In the simulated Colosseum setting, the naval battle recreation was filmed on dry land, with virtual water incorporated. The ships – one being the Persian ship crewed by gladiators, positioned beside the white Athenian vessel – were approximately 65 feet in length and perched atop hydraulic platforms controlled remotely. The only actual water present on the set came from the Neptune statues lining the wall, which spouted water into trash cans. As Arthur Max, the production designer, points out, “It’s more challenging to replicate moving water.

Stadium Upgrades

For the original “Gladiator” movie, there wasn’t a need for a grand entrance into the emperor’s box. However, in the second film, they constructed an intricate stairway and a vestibule, both leading to an exterior area. To one side stood the senators’ box, which was completely set up for the sequel but consisted only of columns and a wall for the first movie. Max points out that the palm trees were not meant to appear realistic; they were added as a dramatic touch, something the Romans would have done for theatrical effect.

I stumbled upon an intriguing tale that was initially published in a special issue of The Hollywood Reporter Magazine back in January. If you’d like to get your hands on this magazine, click here to subscribe and never miss out on such captivating stories!

Read More

2025-01-13 22:24