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

‘Gladiator II’ is a sequel to the original movie, directed and co-produced by Ridley Scott. The cast includes Paul Mescal, Pedro Pascal, Connie Nielsen, and Denzel Washington.

The movie follows Lucius, the son of Maximus and Lucilla, who becomes a gladiator after his home is invaded by the Roman army and seeks revenge against Marcus Acacius while fighting for Macrinus, a former slave who wants to overthrow the emperors Caracalla and Geta.

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

One of the most “questioned” scenes in the movie was the shark battle in Colosseum, with one historian going as far as to call it “total Hollywood bullshit” claiming that Romans had no idea what the shark was and Ridley Scott defending it.

No matter whether you agree that the scene was historically accurate or not, you have to admit that it’s really impressive as far as filmmaking goes. Now cinematographer John Mathieson who worked on the movie decided to break it down for viewers:

Mathieson likened the scene to a 1970s Vegas boxing match, he’s highlighted the opulence, showmanship, and flamboyance of the setting. The senators in colorful togas and the boats contribute to this lavish spectacle, creating a sense of exaggerated drama and decadence.

It’s like a Vegas boxing match in the 1970s when the men are like peacocks and the girls were not quite as well-dressed as the men. It’s totally over the top.

Mathieson explained the complexity and effort behind creating the sequence. He describes how the intense boat and gladiator battle, set in shark-infested waters, was shot in two stages.

Initially, they filmed it “dry” using specialized equipment called SPMTs—large, steerable platforms resembling giant skateboards controlled by a joystick. This setup allowed for precise movement and positioning of the boats, showcasing the technical ingenuity behind the dramatic scene.

We shot it dry on SPMTs (self-propelled modular transporters) which are multi-wheeled, multi-steering bases. It’s like putting a thing on a massive skateboard with lots of wheels on it and the guy walks along next to it and he’s got a joystick and he drives it.

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.

The dry part where most of the shooting was fairly quick. And story-wise, there were only a few shots in the water, but they took maybe twice as long, just to give you some idea how difficult water is to work in

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

They get all the extras, you put lots of cameras in and you position them around the arena because the boats are moving. Not all the cameras will be on all the time, but the boats will come to you, and the action will come to you.

Shooting the scene all at once ensured continuity, Mathieson explains. Actions like a person falling off a boat matched seamlessly between wide and close-up shots, avoiding inconsistencies and maintaining logical flow in the sequence.

The boat’s burning, the walls are being broken and guys are falling off. If you cut to another shot and the guy’s fallen off in the wide shot, and you cut to a close-up pull and he’s still there and he falls off, you can’t use that shot. Since everything’s running at the same time, when he falls off in the wide, he falls off in the close-up as well, so there’s a logic to it

Mathieson used the Alexa Mini LF with a zoom lens for its speed and versatility. He prioritized efficiency over deliberating lens choices, given the demanding schedule and the need to adapt quickly to unexpected moments or energy shifts during shooting.

With a zoom lens, you just go zoom. I’m afraid, much as I admire cinematographers who choose the right lens, that’s not what we’re doing here. You’ve got a lot of people who’ve been up since 2:30 in the morning.

They don’t want to be seeing you say, ‘Oh, there’s a 35mm or maybe a 40mm,’ No. You’ve got to be ready. You’ve got to be quick. You’ve got to be on it. When that energy happens, or if something happens or breaks in mid-shot, you’ve got to have something to change to.

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‘Gladiator 2’ is clearly one of those movies that test your mettle as a cinematographer. Have something to add? Let us know in the comments below!

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