‘Gladiator II’ Cinematographer Reveals How They Flooded the Colosseum for an Epic Shark Battle

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As a seasoned gamer and movie enthusiast with a penchant for historical dramas, I must admit that ‘Gladiator II’ has truly captured my attention. Despite the occasional historical discrepancies, Ridley Scott’s cinematic prowess is undeniable. The shark battle scene in the Colosseum, though debated, is nothing short of spectacular. It’s like watching a 1970s Vegas boxing match with togas instead of sequins – over-the-top, lavish, and decadent!

As a game enthusiast, I’m eagerly anticipating ‘Gladiator II’, the follow-up to the iconic movie. This time around, the mastermind behind the camera is none other than Ridley Scott, who also lends his touch as co-producer. The star-studded cast boasts some heavy hitters like Paul Mescal, Pedro Pascal, Connie Nielsen, and Denzel Washington, making this sequel a must-watch for fans of the original!

The film narrates the story of Lucius, a son born to Maximus and Lucilla, who is forced into gladiatorship following an attack by the Roman army on his home. In pursuit of vengeance against Marcus Acacius, Lucius also battles for Macrinus, a one-time slave with ambitions to dethrone emperors Caracalla and Geta.

The movie was recently released to glowing reviews and is entertaining fans worldwide, despite some criticizing its historical accuracy.

One contentious scene in the film that has sparked debate is the shark fight in the Colosseum. Some historians have even labeled it as “complete cinematic fabrication,” arguing that the ancient Romans were unfamiliar with sharks. However, director Ridley Scott defends this portrayal.

Regardless of your opinion about the historical authenticity, you must acknowledge that the scene is quite remarkable from a cinematic perspective. In fact, the cinematographer John Mathieson, who was involved in the film’s production, has chosen to explain its intricacies for the audience.

Mathieson described the scene as reminiscent of a 1970s Vegas boxing match, emphasizing its grandeur, entertainment, and extravagance. Senators dressed in vibrant togas and boats added to this lavish display, enhancing an air of over-the-top drama and indulgence.

It’s reminiscent of a flamboyant 1970s boxing event in Las Vegas, where the men resembled strutting peacocks and the women didn’t quite match their extravagance in dress. It was absolutely over-the-top opulent.

Mathieson elaborated on the intricacy and work involved in constructing the sequence. He outlined that the thrilling boat and gladiator fight scene, staged amidst treacherous shark-filled waters, was filmed over two distinct phases.

At first, they captured it without any additional elements using devices known as SPMTs – big, maneuverable platforms akin to massive skateboards operated via joystick. This arrangement enabled accurate movement and placement of the vessels, highlighting the clever technology that made the spectacular event possible.

We transported it without any additional liquid using Self-Propelled Modular Transporters (SPMTs), which function similarly to a large skateboard equipped with numerous wheels. An operator, standing beside it, maneuvers it using a joystick, guiding its movement.

Of course, a massive water tank in Malta had to be involved:

It’s probably the largest tank in Europe, 300×400 feet, and it can be up to two meters deep,

There were of course some challenges of filming in the water, he noted that while the dry shots were completed quickly, the water scenes—though limited in number—took much longer due to their complexity. He also describes the water’s emerald green-blue hue, which added a sinister atmosphere with shadows beneath the surface.

In this section, the action unfolded swiftly, with many rapid-fire sequences. As for the narrative, there weren’t many instances of shooting underwater, but those scenes were significantly longer – approximately double the length – to convey the challenge of working in such an environment.

The approach was to shoot as much it was possible all at once:

Additional equipment is provided for them, and numerous cameras are strategically placed throughout the stadium since the boats are in constant motion. Not every camera is active at once, but the action finds its way to the cameras as the boats approach.

In one continuous take, Mathieson points out, scenes were filmed simultaneously to guarantee consistency. For instance, a character’s fall from a boat was smoothly transitioned between wide and close-up angles, preventing discrepancies and preserving a coherent narrative progression throughout the sequence.

As a gamer, I’m navigating through a chaotic scene where the ship is ablaze, and the walls are crumbling. Characters are plummeting left and right. If I switch angles and a character falls off in a wide shot, then cut to a close-up that lingers, only to have him fall again, that footage won’t work. It’s all happening concurrently, so if he tumbles in the wide shot, he’ll plummet in the close-up too. There seems to be a method to this madness.

As an enthusiast, I opted for the agile and flexible Alexa Mini LF with a zoom lens. My main focus was on efficiency, as I had a hectic schedule and needed to swiftly adjust to unforeseen situations or sudden changes in energy levels during filming.

To clarify, using a zoom lens doesn’t mean simply “going zoom.” In our case, it’s more about carefully considering each shot and adjusting the focus, not just relying on the zoom function. I appreciate cinematographers who make that choice, but we have a different challenge here – many people have been awake since 2:30 in the morning.

Instead of casually mentioning lens options like ‘Oh, there’s a 35mm or maybe a 40mm,’ you should always be prepared, quick, and alert. In case sudden energy arises during the shot or equipment malfunctions mid-shot, you need to have an alternative ready.

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2024-11-27 11:14