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Bankston, D. "Death or Glory." American Cinematographer 81.5 (2000): 34-38+. Cinematographer John Mathieson’s work on Ridley Scott’s film Gladiator is discussed. Convincingly re-creating the grandeur of ancient Rome, the film focuses on General Maximus, who is asked to succeed dying ruler Emperor Marcus Aurelius, but is subsequently enslaved and forced into gladiator training where he must survive a number of savage bouts while plotting his revenge. Saving valuable setup time by using fewer lights, Mathieson opted to use the Super 35 format, shooting on Panavision Platinum and GII cameras, Arri IIIs, and an Aaton XTR using Kodak Vision 200T 5274 and (EXR 50D) 5245 stocks. The large arsenal of up to seven cameras, allowed Mathieson and Scott to operate periodically, along with A-camera operator Peter Taylor and Steadicam operator Klemens Becker. The battle scenes were filmed at various frame rates and with a 45-degree shutter—a technique that helped to make the combatants seem more aggressive and to reveal clear sword movements through the air.
Bankston, D. ""Veni, Vidi, Vici" [Interview with Ridley Scott]." American Cinematographer 81.5 (2000): 46-53. In an interview, director Ridley Scott discusses his film Gladiator. After establishing deep roots in television and commercial production design during the 1960s, Scott developed into a truly inventive stylist. He does not simply direct feature films: He is a creator of cinematic worlds that all bear his indelible aesthetic imprint and benefit from his keen photographic instincts. Topics discussed include how the project of filming Gladiator came together, what led him to select Mathieson as its cinematographer and the skills Mathieson brought to the film, the visual influences on the film, his extensive interactions with production designer Arthur Max during preproduction, the decision to shoot in Super 35 with spherical lenses, and the logistical difficulties of filming the large battle scenes.
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