As a seasoned film enthusiast with a deep appreciation for the intricacies of the industry, I find myself captivated by the dynamic career trajectory of Ridley Scott and his esteemed production company, Scott Free Productions. With a rich tapestry of projects that span across various genres, from period dramas to sci-fi masterpieces, it’s evident that Scott is not one to rest on his laurels.
When presenting a film concept to Ridley Scott, it’s crucial to be concise due to his busy schedule at this stage of his career.
The acclaimed British filmmaker behind ‘Blade Runner’, ‘Alien’, and ‘Napoleon’ suggests summarizing a movie in a concise manner: ‘In two brief sentences, describe the essence of your film.’ He emphasizes that the story should be illuminated with an immediate spark, yet contain a ticking clock – a deadline. If characters seem to be acting without purpose, it could lead to a lackluster production.
In another scenario, a burning fuse might represent a band of youthful salvagers unknowingly stranded on an abandoned spacecraft, scheduled to collide with a planet’s rings within 36 hours – the intriguing storyline of the blockbuster film Alien: Romulus, created by Scott and his Scott Free Production Company, that stunned the industry by grossing an impressive $350 million worldwide.
The film is another instance of Scott Free’s ongoing success in rejuvenating classic directorial franchises. For example, Noah Hawley, the showrunner of Fargo, is working on the upcoming Alien: Earth series for FX, Silka Luisa is developing Blade Runner: 2099 for Amazon, and Scott himself is preparing for the release of Gladiator II, the much-anticipated sequel to his 2000 hit movie. This film, set to open on Nov. 22, is a project that the director has described as “the best work I’ve ever done.
Scott boasts that ‘Gladiator’ came in under budget, holding up ten fingers to demonstrate the amount: a staggering ten million dollars less than expected (with Paramount sources stating the actual budget was $250 million). And as if this success wasn’t enough, Scott is already planning another sequel.
When asked about returning to a producer role as some of the film worlds he’s contributed to are transformed into TV series led by others, Scott surprisingly seems content with this change. “I’ve set the visual pace for a while,” Scott explains, who splits his time between L.A. and France. “I know precisely what I’ve accomplished and its impact. From that, I can’t ask for anything more than to keep it going. The platform doesn’t matter to me; I’m eager to get home and watch it. These topics are preserved forever, and that’s a good thing.
Scott Free, as it stands today, has been in existence since 1995, but its origins trace back to the ’70s. Scott explains, referring to his late brother, director Tony Scott, “The name ‘Scott Free’ was originally my brother’s business name. I thought, ‘What a fantastic name; why don’t we use it to launch a company specializing in long-form productions?’
In an intimate gathering with the top brass at Scott Free’s established West Hollywood headquarters post-pandemic, their executives shared an unexpected revelation: despite the broader industry shrinkage, they thrived across all domains. As I, a devoted fan, would say, “We seized the opportunity to flourish when others retrenched,” Justin Alvarado Brown, Scott Free’s president and COO, explained. “We advanced while many were retreating, and luckily, we had several projects in the pipeline that year, enabling us to make those strides.
Scott Free productions are known for their focus on projects that appear to bear the distinctive touch of a skilled author or filmmaker, with a style reminiscent of Sir Ridley Scott’s work. According to Michael Pruss, president of film at Scott Free, they seek material that feels personal and unique, as if it carries a distinct authorial voice or signature in its writing. They receive numerous science fiction and action films due to Ridley Scott’s reputation, but they are not limited by genre. Instead, they aim for projects that stand out, offering something fresh and memorable.
In essence, Scott explains that when choosing projects, he doesn’t rely on any specific formulas and instead likens it to taking a gamble, such as spinning a roulette wheel. He describes the process as “betting on black,” which signifies a mix of intuition and research, but ultimately acknowledges that there’s always an element of uncertainty involved.
In the movie “Alien: Romulus”, director Fede Álvarez credited Ridley Scott for his supportive role during production. In a recent interview, Álvarez shared that Scott had suggested some edits to an early version of the film which were so impactful that they made him physically angry (kick the wall). Upon reflection, Álvarez agreed with Scott’s suggestions and implemented them in the final cut.
Scott explains, “I have the ability to sense if something is overly intellectual or lacking enough intellect. It’s part of my role to understand both extremes. Additionally, recognizing when something is too lengthy or complex falls under my duties as a producer, more specifically an editor. In this capacity, I always maintain respect for the director, and if you are respectful, they will be open to your ideas.
Scott Free stands out due to its independence; it hasn’t had a studio partnership since 2009, although it has maintained a long-term first-look agreement with 20th Century. David Zucker, the chief creative officer, emphasizes that they don’t have a studio dictating what they can or cannot do. First-look deals provide them an opportunity to move closer to production more smoothly, but their priority is always the project itself. They approach talent discussions by focusing on how they can help the project succeed, much like parents consider what’s best for their child. In essence, they ask, “How can we make this thrive?
A persistent challenge for Scott and his crew is their limited control over the ‘Alien’ and ‘Blade Runner’ series, a predicament the director attributes to past mismanagement within his company. Scott Free must continually fight to regain its place on the team whenever a new sequel or prequel is considered. “I should have secured them like Spielberg did with ‘Jurassic’, and as he does with everything, and Cameron did with what he has,” Scott laments. “I revitalized the ‘Alien’ franchise with ‘Prometheus’ and ‘Alien: Covenant’, and we should have reclaimed ownership then, but we didn’t because someone was careless.
Brown emphasizes that it’s their responsibility to keep Scott Free engaged in the upcoming installments of Ridley Scott’s iconic franchises, such as ‘Alien’ and ‘Blade Runner’. “It wouldn’t be logical for another film to be made without Ridley and us,” he explains regarding future productions.
When queried about projects in development at TV, Clayton Krueger, the president of TV, explains, “In television, it’s more about execution than it is about ideas. So, we focus on finding talented artists who can consistently produce a series.” However, Scott provides a straightforward perspective: “TV is like a big bucket of balls,” he says. “Occasionally, something special like The Sopranos or Game of Thrones emerges and impacts everyone, causing a rush to replicate it. Unfortunately, by the time everyone’s trying to grab that ball, it’s already too late. As a director, I’m always looking for the next ball.
A disappointing development occurred when HBO Max decided to cancel their critically-acclaimed sci-fi series Raised by Wolves after completing two seasons in 2022, leaving many feeling disheartened. As Krueger puts it, “It was incredibly frustrating because we had established the creative foundation for the show. We had developed the storyline, assembled our team, and felt that the series had found its rhythm.
Scott’s consistent success with 20th Century Fox, now under Disney’s ownership, isn’t a fluke. The director launched his career at this studio with his first blockbuster, 1979’s Alien, and has remained loyal to the company throughout various changes over the years. “I believe I’ve made around 13 films for Fox,” Scott states, “which might be the most any director has done for a single studio. It’s like owning a restaurant – if they cover your expenses, you should use their services frequently. I’ve been dining at Fox every night. I think that’s why they value me. You have victories and defeats, but overall, they have benefited from my work.
20th Century Studios president Steve Asbell expresses his gratitude for Scott’s dedication, having collaborated with him back in 2005 on the movie “Kingdom of Heaven.” Asbell admires Scott as an exceptionally innovative, brave, and tenacious film producer. He notes that Scott Free was founded by Scott and Tony to showcase their artistic values as directors, and it has consistently been a key contributor to 20th Century Studios’ film production.
Although Scott Free isn’t a traditional family business, Scott’s 55-year-old son Luke, who serves as the company’s U.K. office head and manages advertising elements, long-term plans, and is also a director (he jokes about being the boss), plays a significant role. Scott’s 46-year-old daughter, Jordan, who is a director, wrote and directed their recent adaptation of Nicholas Hogg’s psychological cult thriller A Sacrifice. Moreover, Jake Scott, Scott’s 59-year-old son, took charge as the director for the 2021 documentary Kipchoge: The Last Milestone.
Gianluigi Toccafondo, the renowned artist behind Scott Free’s distinctive watercolor vanity card featuring a mysterious figure transforming into a bird, was once again enlisted by Scott for dynamic animated opening credits of ‘Gladiator II’. As Scott put it, “I reached out to see if he was still around and keen on taking on this project.” The artist breathed life into elements from the original ‘Gladiator’, ensuring viewers are captivated even before the main action unfolds.
Scott’s upcoming endeavor is his long-awaited biopic about the iconic 1970s disco group, the Bee Gees. Filming will start in early next year for Paramount. With Scott Free Productions keeping a packed schedule, they are still searching for renowned filmmakers to work on their pipeline projects (one potential collaborator on their wish list: Tony Gilroy, the showrunner of Andor). “I have my plans set for the next three years,” Scott stated. “They’re all written and prepared. So now we need to find talented directors capable of managing these large budgets. A top-notch horse won’t win a race without an excellent rider.
His company is developing some projects it would love for Scott to personally tackle and has been specifically trying to help Scott fulfill his dream of directing a Western (over the years, Scott Free has developed Cormac McCarthy’s Blood Meridian and, on the TV side, Hampton Sides’ Western epic Blood and Thunder, but neither was greenlit). “I’m a Western fanatic,” Scott says, “and I haven’t done that yet.”
Period dramas, Scott’s executives observe, remain the most challenging productions to market. As one friend puts it about period films: “They rarely seem convincing, but they are constantly being made,” says Zucker. He then cites FX’s Shogun as a notable instance of their success.
In the future, our team has multiple films in editing stage – among them are: “The Chronology of Water”, Kristen Stewart’s first directorial work starring Imogen Poots as a swimmer battling to break free from an abusive past; “Echo Valley”, directed by Michael Pearce and featuring Julianne Moore as a mother who goes to great lengths to hide a murder; and “Trap House”, helmed by Michael Dowse, which stars Dave Bautista and Bobby Cannavale as undercover DEA agents whose rebellious children rob from a dangerous cartel.
Additionally, Scott shared that he is working on a fresh Alien film to be released around 20th, following the success of Romulus. Furthermore, a Battle of Britain film is being penned by Joe Penhall. Moreover, as previously mentioned, Kevin McMullin will be writing the thriller titled Bomb.
On the TV side, Scott Free recently released the nonfiction documentary At Witt’s End: The Hunt for a Killer on Hulu and wrapped a third season of AMC’s The Terror anthology series (titled The Terror: Devil in Silver), with a fourth season in development. It also has two Apple TV+ projects in the works: Peter Craig’s Dope Thief (formerly Sinking Spring), starring Brian Tyree Henry and Wagner Moura as two friends who pose as DEA agents to rob a narcotics operation (Scott directed the pilot), and Steve Thompson’s Prime Target, starring Leo Woodall as a mathematics student who discovers a revolutionary hacking algorithm. The company also is making inroads into the reality space, particularly looking into opportunities to spin off iconic scripted projects into unscripted ideas (à la Squid Game: The Challenge).
According to Pruss, “everything we’re working on is part chaos, part enchantment.” He enjoys that we continue to challenge boundaries and attempt new, uncharted territory.
“You can find this article in the October 30th edition of The Hollywood Reporter magazine. Consider subscribing to it by clicking here.
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2024-10-31 16:25