Artisans From ‘Gladiator II,’ ‘Blitz’ and More Talk Songs, Visual Effects and Sound at Variety FYC Fest: The Shortlist

Guided by Jazz Tangcay, our magazine’s senior artisans editor, the esteemed chief film critic Peter Debruge, and the knowledgeable senior entertainment technology & crafts editor Carolyn Giardina, I’ve found myself immersed in fascinating discussions that reveal the intricate behind-the-scenes workings of films like “Gladiator II,” “Vermiglio,” “Room Taken” and “How to Make Millions Before Grandma Dies.” These conversations shed light on directing techniques, visual effects, music composition, and other craft aspects that make these movies so captivating.

‘Gladiator II’ Conversation With Composer Harry Gregson-Williams

Harry Gregson-Williams, the musician behind “Gladiator 2”, composed more than 100 minutes of music for the sequel to Ridley Scott’s 2000 blockbuster, “Gladiator.”

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Harry Gregson-Williams, the composer of “Gladiator 2”, created over an hour and a half of music for the follow-up to Ridley Scott’s 2000 hit, “Gladiator”.

In discussing the upcoming film sequel, Gregson-Williams and Scott initially focused on the character of Paul Mescal’s Lucius. “We chatted about potential ideas for him and strategies to portray his development from a seemingly ordinary man living contentedly with his wife in a rural region somewhere within Numidia in Northern Africa,” Gregson-Williams elaborated.

Gregson-Williams made sure to include elements from Hans Zimmer’s themes from the initial movie. In the end, these themes were utilized during two distinct scenes in the film. “This is where Lucius transforms into Maximus,” he shared.

Among the initial compositions Gregson-Williams tackled was the “Lucius, Arishat and the Roman Invasion” cue, a lengthy action-oriented musical piece. He recognized that a large choir would play a crucial role in it. “I knew right from the start I could make use of that, and it would serve as the foundation for the overall sound design,” he explained.

In another part of his work, Gregson-Williams obtained instruments from a field in Northern Spain, which added an authentic tone to the mix. When composing the theme for Denzel Washington’s character Macrinus, he wrote music that reflected the enigmatic qualities of this character, whose true intentions initially remain unclear. He then arranged and orchestrated the piece on a flute.

Cellist Martin Tillman performed electric cello pieces under Macrinus’ direction, according to composer Hans Zimmer’s remarks. “This became a recurring theme for him,” Zimmer said, “Macrinus’ music is not at all foreboding. We aimed to keep our intentions subtle with this character. The intrigue lies in the audience gradually realizing that Macrinus is a cunning serpent. We don’t reveal this immediately. Instead, we are left curious. Thus, his music starts off as something ethereal before it grows increasingly ominous as the story progresses.

‘Blitz’ Conversation With Songwriters Nicholas Britell and Taura Stinson

The “Winter Coat” song in “Blitz,” a poignant scene where Rita (Saoirse Ronan) reveals her deep emotions amidst war, was inspired by Steve McQueen’s personal experience following the death of his father and the winter coat he kept as a cherished memento.

McQueen explained that there’s an incredibly emotional touch to a coat feeling like it’s enfolding or comfortingly holding you, which seemed fitting for the scene. He added that after someone has passed away, what remains are their belongings that we keep as mementos.

Songwriters Nicholas Britell and Taura Stinson tailored the experience to make Ronan at ease, offering various singing possibilities. Yet, it was the most challenging key that Ronan ultimately selected to perform in.

Britell described an experience where one can sense a strong connection between someone’s emotions and a specific musical key. It was quite astonishing, he said, how effectively she embodied this emotion.

‘Vermiglio’ Conversation With Director and Producer Maura Delpero

Maura Delpero, the director and producer of “Vermiglio”, shared that a six-year-old version of her late father appeared in a dream, igniting creative ideas for the project. Originally intended as a means to cope with loss, this dreamy encounter ultimately transformed into crucial elements for the film “Vermiglio”.

Delpero attributed her ability to explore the story within this film to two key influences: her academic background in literature and her professional experience in documentary filmmaking. Her work in documentaries allowed for extensive investigation into the subject matter, while her knowledge of novelistic narrative structures enabled her to trace the interwoven fates of each character.

Delpero traced the story behind this film back to two significant sources: her academic studies in literature and her career in documentary filmmaking. Documentary work provided a foundation for deep research, while understanding novelistic narrative structures helped her navigate the interconnected journeys of every character.

Delpero advised, ‘It’s crucial to remain within the boundaries,’ he explained. ‘Occasionally, you should soak it up without taking any action…just by existing and inhaling the atmosphere in a manner that seems to influence the movie.’

‘Gladiator II’ Conversation With Special Effects Supervisor Neil Corbould

In creating “Gladiator II”, the visual effects team aimed to capture the intricate atmosphere of the ancient Roman Empire. They successfully brought back the grandeur of the colosseums, as envisioned by director Ridley Scott in the original 2000 film, using advanced technology to enlarge and enhance the world of “Gladiator”.

Neil Corbould, responsible for special effects in the film, mentioned that the overall magnitude and scope of this movie was approximately one-third greater than the initial one. For this sequel, extra physical sets were crafted, with modifications occurring during the building process of the coliseum. To accommodate a key scene, the height of the arena’s gate was increased to 6 meters above the original coliseum’s, allowing a ship’s mast to pass through.

Regarding the visual effects, Corbould remarked they appeared flawless. He emphasized a significant leap from the initial version. Visual effects supervisor Mark Bakowski noted that the film’s aesthetic elements, particularly showcasing diverse perspectives of Rome, were primarily created using VFX to help create and complete the movie world.

‘Room Taken’ Conversation With Director TJ O’Grady-Peyton

In “Room Taken,” Director TJ O’Grady-Peyton refined his unique approach by skillfully arranging performances from actors Gabriel Adewusi and Bríd Brennan. They portray characters – a homeless man and a elderly, visually impaired woman – who develop an extraordinary relationship.

Although it has a dreamlike quality, making it feel authentic is crucial,” O’Grady-Peyton pointed out. “It became clear when we observed the actors and characters interact within the set, as they seemed to perform a delicate dance akin to ballet, frequently moving around each other in the same frame.

The setting of the house depicted in the movie was a crucial factor. O’Grady-Peyton mentioned that they were looking for a place that felt like a genuine inner-city Dublin home but also had an open layout so that the characters wouldn’t frequently run into each other.

‘Blitz’ Conversation With Production Sound Mixer John Casali and Supervising Sound Editors and Re-Recording Mixers James Harrison and Paul Cotterell

John Casali, the production sound mixer, James Harrison, and Paul Cotterell, the supervising sound editors/re-recording mixers, took their inspiration for the film’s sound design directly from firsthand accounts given by director Steve McQueen about London. As Cotterell put it, “Steve is a true Londoner.

He truly embodies the essence of authentic London. His directing style is exceptional because he grew up immersed in the city, often accompanying his mother to local markets. As a child, he was more like a packhorse, carrying the spirit of the city within him. He shares captivating stories and offers insightful tidbits, rather than giving strict instructions.

Harrison commented, “It’s delightful during our observation times when he vividly describes a scene or recalls a memory. He essentially creates a mental painting for us, which gives room for our minds to wander and generate thoughts – something truly special.

“How to Make Millions Before Grandma Dies” Conversation With Director Pat Boonnitipat

Pat Boonnitipat, director of ‘How to Make Millions Before Grandma Dies,’ expressed that he believed it would be his final film. This international feature, Thailand’s submission for the 97th Academy Awards, is a significant debut for the filmmaker and has made it onto the shortlist in the International Feature category.

Boonnitipat pointed out that the Thai film industry is generally smaller and less cutthroat compared to its counterpart in the U.S. Previously, he had directed a TV series, and the same producers invited him for “How to Make Millions Before Grandma Dies.” Upon receiving the script, it triggered emotions within him that he felt compelled to share with worldwide audiences.

As a passionate film enthusiast, I’ve always dreamt of standing behind the camera and directing my own masterpiece. Although I haven’t attended film school, my love for cinema has driven me to immerse myself in the works of exceptional Asian directors who have reached such heights. In my quest for knowledge, I delved deep into the extensive lists of classic films from around the globe, eager to learn and grow as a director.

2025-01-10 23:19