Building Rome Again: Ridley Scott and Team Recreate Ancient Splendor in “Gladiator II”

STEP back into ancient Rome with Ridley Scott’s Gladiator II! Opening December 4, the sequel boasts stunning sets, intricate designs, and a cinematic scale unlike any other.

Legendary director Ridley Scott is bringing audiences back to the heart of ancient Rome with Gladiator II, his most ambitious project yet. Collaborating with long-time production designer Arthur Max, this sequel promises a cinematic experience of epic proportions. The dynamic duo, who previously partnered on Gladiator, The Martian, American Gangster, and Napoleon, have outdone themselves, crafting a spectacle that redefines scale and authenticity.

“Everything is much bigger and more elaborate than anything we’ve done before,” says Max, who oversaw the design and build of ancient Rome for the movie. “It’s Gladiator on steroids. Ridley’s approach to making a film is always immersive. He’s involved in every phase, every department. It can be a challenge working with him, because he expects so much. And I love a challenge.”

The sequel’s massive scope took production across Morocco, Malta, and Shepperton Studios in London. Producer Lucy Fisher describes the enormity:

“The scope was overwhelming. In Morocco, there were over 80-something huge tents dedicated just for the extras’ hair and makeup, and to house countless props and costumes. In Malta, we assembled the Arena, the palace and whole blocks of ancient Rome. There was a life size statue of Pedro Pascal on his horse. In a world of green screen and AI, this might be the last great build in movies. And we all felt privileged as we walked the streets of this lost world.”

Spanning nearly eight kilometers, the recreated ancient city is brimming with meticulous details. Max’s designs combine traditional craftsmanship with advanced technology, creating a visually stunning Rome. From an enlarged replica of the Colosseum to a grand city entry arch adorned with Romulus and Remus motifs, the artistry behind the sets rivals that of historical Rome itself.

One jaw-dropping element is the Colosseum set. Built at one-third the height and spanning about a quarter of the original structure, its foundation was elevated to allow for scenes involving water.

“We knew we had to fill it with water,” says Max. “So we raised the foundation up about five feet so we could still see what we wanted above the water line when we flooded it digitally. We also enlarged the entry arch, so we could bring the ships in through the gates. We gave it a little bit of a boost from the bottom up, but you will recognize it when you watch the film.”

Bringing Rome to life meant assembling over 500 extras to crowd the Colosseum—a number augmented digitally for the amphitheater’s grand scenes. Scott’s signature filming techniques, including simultaneous action and multi-camera setups (up to 12 cameras per scene), ensured that the chaos of ancient Rome felt authentic.

Each scene, he says, is directed like a play, with simultaneous action taking place all over the set. “You have to know exactly where to place the cameras,” explains the director. “I can do that because I’ve storyboarded it all in advance. For even the best camera operator it can be hell. I don’t rehearse with the actors, but I do rehearse with the camera operators, and I dress them in costume on the set because they could end up in a scene.”

With unparalleled attention to detail and a dedication to practical effects, Gladiator II may mark the last great cinematic build of its kind. Witness the grandeur when it premieres in cinemas on December 4. (Photo & Video Credit: “Paramount Pictures”)

(ROHN ROMULO)