From grunge to Gladiator II: John Mathieson, BSC
Cinematographer John Mathieson, BSC began his career shooting music
videos for bands like Nirvana and Hole, moving into documentaries
and commercials before working in feature films. Rather than going
to film school,
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Cinematographer John Mathieson, BSC began his career shooting music
videos for bands like Nirvana and Hole, moving into documentaries
and commercials before working in feature films. Rather than going
to film school, he joined friends who formed a film collective and
everyone learned from each other. Director Ridley Scott saw his
work on the movie, Plunkett & Macleane, and approached him to
shoot Gladiator. “I never thought I'd be the sword and sandals
guy,” says John. “I was doing grunge videos!” John was nominated
for an Academy Award for Best Cinematography for Gladiator. For
Gladiator II, John embraced the advancements in visual effects
technology, which allowed for more efficient and creative
storytelling. While the film was shot digitally, his approach to
cinematography remained similar to the first film. “We didn’t do
much different with the cameras or the language of the story,” he
says, “but parts of the filmmaking process have gotten faster and
easier. We shot on digital in about half the time it took to shoot
Gladiator.” John focused on creating a visually striking world in
Gladiator II, inspired by historical paintings and the contrasting
environments of Rome and the desert. He wanted high contrast
lighting, especially in the desert scenes at the beginning of the
film and in the gladiator arena so that it looked dusty, hot, and
overexposed. In contrast, the light inside the Roman homes is
warmer and richer. John describes it as, “Everything's got dust and
then Rome is colorful, opulent- grapes, wine, peacock greens,
paisleys, fabrics, all that kind of decadence-it's camp, it's
vulgar, it's Vegas 1970.” When choosing projects, John prioritizes
scripts that resonate with him and directors who can effectively
guide the filmmaking process. He enjoys exploring and working in
different film genres. “I like to think I don't have a style, you
know, that I can adapt to what is on the page or what is
important,” he says. Gladiator II is currently in theaters.
Interested in more Gladiator? Hear our past interview with Adam
Somner, Gladiator 2nd AD and frequent Ridley Scott collaborator:
https://www.camnoir.com/ep125/ Sponsored by Hot Rod Cameras:
https://hotrodcameras.com/ Sponsored by ARRI:
https://www.arri.com/en The Cinematography Podcast website:
www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter:
@ShortEndz
videos for bands like Nirvana and Hole, moving into documentaries
and commercials before working in feature films. Rather than going
to film school, he joined friends who formed a film collective and
everyone learned from each other. Director Ridley Scott saw his
work on the movie, Plunkett & Macleane, and approached him to
shoot Gladiator. “I never thought I'd be the sword and sandals
guy,” says John. “I was doing grunge videos!” John was nominated
for an Academy Award for Best Cinematography for Gladiator. For
Gladiator II, John embraced the advancements in visual effects
technology, which allowed for more efficient and creative
storytelling. While the film was shot digitally, his approach to
cinematography remained similar to the first film. “We didn’t do
much different with the cameras or the language of the story,” he
says, “but parts of the filmmaking process have gotten faster and
easier. We shot on digital in about half the time it took to shoot
Gladiator.” John focused on creating a visually striking world in
Gladiator II, inspired by historical paintings and the contrasting
environments of Rome and the desert. He wanted high contrast
lighting, especially in the desert scenes at the beginning of the
film and in the gladiator arena so that it looked dusty, hot, and
overexposed. In contrast, the light inside the Roman homes is
warmer and richer. John describes it as, “Everything's got dust and
then Rome is colorful, opulent- grapes, wine, peacock greens,
paisleys, fabrics, all that kind of decadence-it's camp, it's
vulgar, it's Vegas 1970.” When choosing projects, John prioritizes
scripts that resonate with him and directors who can effectively
guide the filmmaking process. He enjoys exploring and working in
different film genres. “I like to think I don't have a style, you
know, that I can adapt to what is on the page or what is
important,” he says. Gladiator II is currently in theaters.
Interested in more Gladiator? Hear our past interview with Adam
Somner, Gladiator 2nd AD and frequent Ridley Scott collaborator:
https://www.camnoir.com/ep125/ Sponsored by Hot Rod Cameras:
https://hotrodcameras.com/ Sponsored by ARRI:
https://www.arri.com/en The Cinematography Podcast website:
www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter:
@ShortEndz
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