Gladiator Begins Refining
Gladiator Begins: Equipment Refining Tutorial from Saturnstales Link contributed by Jmanghan. Submit video links to share them with our users. Problem with this video? You can submit a problem report for this video if it isn't working or has other issues. Attention, lovers of the video game Gladiator Begins! If you wish, there's a growing discord, a GB/C:RTF wiki, and a subreddit which has cruelly not had much.
Described by film producer as 'the very best eye in the business', director Ridley Scott was born on November 30, 1937 in South Shields, Tyne and Wear (then County Durham). His father was an officer in the Royal Engineers and the family followed him as his career posted him throughout the United Kingdom and Europe before they eventually returned to Teesside. Scott wanted to join the Royal Army (his elder brother Frank had already joined the Merchant Navy) but his father encouraged him to develop his artistic talents instead and so he went to West Hartlepool College of Art and then London's Royal College of Art where he helped found the film department.In 1962, he joined the BBC as a trainee set designer working on several high profile series.
He attended a trainee director's course while he was there and his first directing job was on an episode of the popular BBC police series (1962), (1965). More TV work followed until, frustrated by the poor financial rewards at the BBC, he went into advertising. With his younger brother, he formed the advertising production company RSA (Ridley Scott Associates) in 1967 and spent the next 10 years making some of the best known and best loved TV adverts ever shown on British television, including a series of ads for Hovis bread set to the music of Dvorak's New World Symphony which are still talked about today ('e were a great baker were our dad.'
)He began working with producer in the 1970s developing ideas for feature films. Their first joint endeavor, (1977) won the Jury Prize for Best First Work at Cannes in 1977 and was nominated for the Palm d'Or, more than successfully launching Scott's feature film career. The success of (1977) inspired Scott's interest in making science fiction and he accepted the offer to direct 's low budget science fiction horror movie (1979), a critical and commercial success that firmly established his worldwide reputation as a movie director.(1982) followed in 1982 to, at best, a lukewarm reception from public and critics but in the years that followed, its reputation grew - and Scott's with it - as one of the most important sci-fi movies ever made. Scott's next major project was back in the advertising world where he created another of the most talked-about advertising spots in broadcast history when his '1984'-inspired ad for the new Apple Macintosh computer was aired during the Super Bowl on January 22, 1984. Scott's movie career has seen a few flops (notably (1985) and (1992)), but with successes like (1991), (2000) and (2001) to offset them, his reputation remains solidly intact.Ridley Scott was awarded Knight Bachelor of the Order of the British Empire at the 2003 Queen's New Year Honours for his 'substantial contribution to the British film industry'. On July 3, 2015, he was awarded an honorary doctorate by the Royal College of Art in a ceremony at the Royal Albert Hall in London.
He was awarded the BAFTA Fellowship in 2018. BAFTA described him as 'a visionary director, one of the great British film-makers whose work has made an indelible mark on the history of cinema. Forty years since his directorial debut, his films continue to cross the boundaries of style and genre, engaging audiences and inspiring the next generation of film talent.' - IMDb Mini Biography By:Spouse (3)(June 2015 -present)( 1979 -1989) ( divorced) ( 1 child)Felicity Heywood( 1964 -1975) ( divorced) ( 2 children)Trade Mark (14).
Education: West Hartlepool College of Art (1954-1958: Diploma in Design 1958, with honors); Royal College of Art (autumn 1958-1961: M.A. In Graphic Design 1961).
Welcome to the game 2 doll maker. The Doll Maker is a heavily censored recreation/parody of infamous 'Lolita Sex Toy' hoax and copypasta, pictured above in the gallery. In Welcome to the Game II, the Doll Maker site is completely revamped and rewritten. Welcome to the Game II – The Dollmaker. The Dollmaker. The Dollmaker has to be by-far one of the most interesting interactions you can get in the game. Encountering The Dollmaker is triggered just by visiting the website. It might seem like nothing at first, but you’ll eventually start to hear faint music. In the case that you find yourself.
Two postgraduate courses at the RCA followed. Then he got a traveling scholarship and went to New York, where he gained experience in editing at Leacock/Pennebaker.
A year later he would return to England where he worked as an art director for the BBC. His skill in designing sets for television eventually led to designing sets for commercials. After participating in the BBC's directors training course, he quit television. He decided to focus almost entirely on his advertisements and in 1965 he opened his own commercial production company called Ridley Scott Associates. Received a TCL Chinese Theatre handprint ceremony on May 17, 2017. His hands and feet were encased in cement outside the TCL Chinese Theatre in Hollywood, California. He first set foot on the famous sidewalk in 1960, when he had no intention of entering the movie business.
He was 22, fresh out of college and after working in New York for nine months, saved enough money to travel to L.A. On a Greyhound bus. 'One of the big deals for me was to come to Hollywood,' Scott remembered. 'I stayed in a boarding house nearby and walked to Hollywood Boulevard. I remember standing outside and staring at the footprints.
Never, ever, would I have thought that this would happen.' Variety 2017. in 2006, about screenwriter He is maybe one of the two best writers I have ever worked with and I am developing something with him now that will take us back to Muslim countries next year.
It's called 'Tripoli', is set in 1805 and is about the bad behavior of the Pasha of Tripoli, who was kidnapping ships, particularly American ships, and demanding ransoms while Jefferson was broke, having emptied his coffers of $11 million to complete the Louisiana Purchase from Napoleon, who needed the money to feed his army. It is a fascinating period. The person that probably stopped me in my tracks as a child-because I used to love to go to the cinema-was with (1946). I thought everything was somehow better than most of the other movies in terms of the way it looked-the way it was dramatized and the way it was photographed. In fact, he was detailed from corner to corner and that is what I picked up with and then Kurosawa , then, -those were all the fundamental characters at that time-and, of course. There are Frenchmen, too, of course, who will be remembered as well, but I wasn't open to the French cinema at that point, so it was American and English film directors.
So those were the influences. I think did brilliantly in (2006). He and I loved that film and Fox loved it and then they didn't know what to do and we got beaten up. Russell got beaten up mercilessly, which I thought was disgraceful because I genuinely thought we had done a good movie about a man in transition which is also quite funny. And what's really irritating and annoying is that I kept getting told later by actors, journalists, people outside of the industry, how much they enjoyed it. So anyway, fuck 'em. It was a good film.
in 2015 I don't really stop. Whatever I do, I'm on. But it's life, isn't it? We're not here for that long. I don't feel vulnerable in any way. I'm lucky in that I'm in good health and the brain's still going. No, seriously!
A lot of it is how you look after yourself, but a lot of it is also luck. Flat out luck.
So working, in a funny kind of way, is a health factor. I think it's healthier. My dad retired five years younger than me. Retirees are retiring at 50, 60. What the hell are you going to do? I don't know.
It's unthinkable for me to retire. That's why I love , who's in his 80s and has already finished his next movie. God, he's faster than I am! in 2015 I think I'm blessed by the fact that I can draw. I've got an inner eye, definitely. At first I wasn't aware of it, and then after 2,000 commercials, there was a reason I was so busy. I was the most visual of all directors.
That's why I was so flat-out successful, frankly. That's why I never did a film until I was 40. I didn't start filming until I was 40. I certainly appreciated what I had, and I started to acknowledge it, embrace it, and use it. I think visually.
But I'm good with words, and I'm helpful with writers because I'll talk to them visually when I'm working. I applied to the Royal College of Art after my first degree at West Hartlepool College of Art 1954-58-the RCA was top of the list as the most acclaimed art college at that time. I had realized I would never make a painter-there were arguments about whether or not my paintings were paintings or illustrations. The RCA had a particularly strong Graphic Design Department, which would give me a more specific creative target and a broader canvas. I was thrilled to be accepted, starting autumn 1958 and finishing in 1961 duating with an M.A. In Graphic Design.
'Television and film design' and photography were just beginning to happen, and America was becoming a big influence. I was struck by the level of professionalism and the highly competitive nature of Graphic Design at the RCA. All students were of a very high standard. Putting us all together was the beginning of my being aware of the competitive nature of my chosen profession. I realized from very early on that I would have to fight hard and do very well if I was going to make it.
One was pretty well left to it. The mood of the College at the time was rebellious and politicized, as well as studious and introverted. It could be very competitive, with not much being given away and everything kept close to your chest. You observed all the time, watched what everyone else did and tried to do better and be the most original.
During the Richard Guyatt era of Graphic Design, it wasn't easy for a student to work with type and photomontage. Nothing was easy. Nothing worth achieving ever is. 2015 I cast carefully. If I cast very well, the actors are going to help me on the day we shoot and I'm going to help them.
It becomes a partnership. I don't do days and weeks of rehearsal. What I tend to do is when we walk on the floor, I literally shoot the first rehearsal and rehearse on camera. Because then you get the energy of coming in prepared but not rehearsed, and then you get a reality. If you over-rehearse it goes dead when you shoot, and you spend time getting back to what you found in rehearsals. I'm not unusual that way.
Does it, and so does. More actors like it than they care to admit. If it's well written, you don't have to rehearse. In this case, we had a great script from a great book. 2015, in 'Variety' I was out of the era of (2007).
We were really inventing modern advertising and modern communications. The big question always to me when making a movie now is, 'Am I communicating?'
And if you're not communicating you won't have a film do business and our business is about commerce, not art. People at that time said TV commercial breaks were better than the programs. In doing that, I learned to address the most basic question: Am I communicating, or am I going over your head?
And that's what all filmmakers face. I stayed in it for 20 years because I just loved it.
I was working in film, working on celluloid, I was working in quick time. They were very competitive days. Today you're considered busy if you're doing 12 bits a year; in those days I would be doing, personally, 100 commercials a year, averaging two a week. And they were big. I was obsessed with commercials. And the ones we made 30 years ago are pretty good today.
They don't age. I would obsess over details, not just who the actor was, or how beautiful the model was. But I also learned about process, which is everything. You can talk yourself blue in the face at film school, you can talk yourself blue in the face at drama school, but you'll never learn until you go out and do it. You can converse all you want about the mountain, but until you get on it, and start climbing, you don't know shit. At that time we were influencing the way feature films looked, but I was always criticized for being too visual. They said it was too beautiful, too image-driven.
And I thought, 'What the fuck does that mean?' Just because I could shoot better than most people-which is what made me such an employable commercial director-didn't mean I wasn't interested in story. I still feel that way. I'm not making a radio play, I'm making a movie. in 2015 I've got no plan. I go from pillar to post randomly. I have this childlike fascination and thrill of doing it.
I was going to be doing what will be called (2017), which starts shooting next February, and we were struggling then with the screenplay there and then there was a phone call, somebody saying, 'Listen, we've got this thing which is completely written called (2015)', and I said, 'Huh.' And I speed-read it in an hour and by mid-afternoon, I talked to Fox and said, 'I need to talk to '. in 2015, on cinematographer Dariusz has a great eye and great taste. He is a great camera operator. I think any cinematographer should operate the camera occasionally; if you don't, you don't understand the frame. Dariusz likes the storyboards; he loves to know what we're doing, because he has to prep it.
We always work with multiple cameras. With Dariusz, it's usually four, but if it's complicated, it's five to eight cameras. It's knowing where to place them. We shot (2015) in 72 days. Normally it would be 100 to 110. Part of that is multi-camera, part of it is knowing what you're doing.
You can't walk in every morning and say, 'Let's talk about this scene.' Are you kidding me? You can't do that. in 2015, on production designer and (2015) The key is to always kick off a creative conversation on what each scene can be. Then Arthur will go away and research it with the digital artists; they'll come back with a digital representation of the set.
That also happened for the spacesuits. They're tricky; they're industrial design because they have to breathe.
I didn't want to repeat (1979) or (2012). I never want to repeat anything. We also set up 30 GoPro cameras inside the habitat. Those took the form of being a buddy or companion to Mark Watney.
So there was Matt talking to the camera-what I called ship's log, like Captain Kirk. We wanted to avoid voice-over because it's tricky. It's better to have Matt talking to himself. To represent NASA, there was a building on the edge of the Danube, the most modern building in Budapest. I would drive past it and think, 'We better look at that, because I can't find NASA.' It was perfect-a giant space, used for events, with a giant tube roof. in 2016, on directing blockbusters You want big films and stories to keep people going to the cinema.
It's up to us to keep the bar raised. That's the trick. I've always done that. It is brain surgery! It is bloody brain surgery!
You're putting together a whole group of people, you're trying to budget as accurately as you can and, at the end of it, you've got to sell a lot of tickets. That's more complex than banking-but a few of us manage to pull it off. I'm not kidding myself: I love the challenge. If you don't, don't do the job. interview with Rob Carnevale, IndieLondon, on his movies I think a landmark would have to be (1977) because it got me going and everybody was surprised that I could make a two-hour movie. It was criticized, but that's when I stopped reading all my press because they said it was too pretty.
I was like, 'Fuck you!' It rained for 58 days and that's why it looked like it was gauze.
It wasn't gauze at all. It was a very beautiful film but I took that criticism on board and started to question what I do well. But eventually I just thought, 'Fuck it, I'll do what I have to do and that's that' and I will evolve in my own time. I think (1979) was a landmark-it's one of the really good science-fiction movies. (1982) was pretty fucking good, too.
I've done pretty good! (1985) I thought was good but I jumped the gun and simply started doing fantasy 25 to 30 years too soon. (1996) and (1987) are, I think, both really nice little movies. I think it came off someone saying in my office, because 'Legend' didn't work at the box office and 'Blade Runner' didn't work at the box office, 'Why don't you make something about ordinary people?' So, I went off and made these two smaller movies, which I think, actually, turned out pretty well. But gradually I realized that what I do best is universes and I shouldn't be afraid of that. That's what I do great.
So, the universe of (2001) is still, for me, the best war film coming out of that region. interview with Rob Carnevale, IndieLondon.
in 2017, on (2017). We discovered from it (2012) that the fans were really frustrated. They wanted to see more of the original monster and I thought he was definitely cooked, with an orange in his mouth.
So I thought, 'Wow, OK, I'm wrong'. The fans, in a funny kind of way-they're not the final word-but they are the reflection of your doubts about something, and then you realize 'I was wrong' or 'I was right'.
I think that's where it comes in. I think you're not sensible if you don't actually take the fans' reaction into account. in 2017, on (1982) getting initially negative reviews I know, but I knew it was good. This goes on to what I learned from getting beaten up. spent three pages destroying 'Blade Runner' and me.
Even to the fact that I had a beard ironic. I couldn't believe it, it was personal. I never met her in my life and it was really distressing.
But after that moment, I never, ever read press again. Even if it's glowing, best not read it, because you think you own the world. If it's killer, best not read it because you think you've failed. You have to be your own critic.